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4 ACT-SF.ORG SAN FRANCISCO'S THEATER COMPANY

American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is winning nonprofit theater, nurtures the art of live theater at the center of our work. Our three-year, fully accredited through dynamic productions, intensive actor training, Master of Fine Arts Program is at the forefront of America’s and ongoing engagement with our community. Under the actor training programs. Meanwhile, our intensive Summer leadership of Artistic Director Carey Perloff and Executive Training Congress attracts students from around the world, Director Peter Pastreich, we embrace our responsibility to and the San Francisco Semester offers a unique study-abroad conserve, renew, and reinvent our rich theatrical traditions opportunity for undergraduates. Other programs include the and literatures, while exploring new artistic forms and world-famous Young Conservatory for students ages 8 to new communities. Founded by William Ball, a pioneer of 19; Studio A.C.T., our expansive course of theater study for the regional theater movement, A.C.T. opened its first San adults; and the Professional Development Training Program, Francisco season in 1967. We have since performed more than which offers actor training for companies seeking to elevate 350 productions to a combined audience of more than seven their employees’ business performance skills. Our alumni million people. Every year we reach more than 250,000 people often grace our mainstage and perform around the Bay through our productions and programs. Area, as well as on stages and screens across the country.

Rising from the wreckage of the earthquake and fire of 1906 A.C.T. also brings the benefits of theater-based arts education and hailed as the “perfect playhouse,” the beautiful, historic to more than 16,000 Bay Area students and educators each Geary Theater has been our home since the beginning. When year. Central to our ACTsmart education programs, run by the 1989 Loma Prieta earthquake ripped the roof apart, San Director of Education & Community Programs Elizabeth Franciscans rallied together to raise a record-breaking $30 Brodersen, is the longstanding Student Matinee (SMAT) million to rebuild the theater. The Geary reopened in 1996 with program, which has brought hundreds of thousands of young a production of The Tempest directed by Perloff, who took over people to A.C.T. performances since 1968. We also provide in 1992 after the retirement of A.C.T.’s second artistic director, touring Will on Wheels Shakespeare productions, teaching- gentleman artist Ed Hastings. artist residencies, in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 25-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, A.C.T. plays a leadership and theater made by, for, and about the Bay Area. Her fierce role in securing the future of theater for San Francisco and commitment to audience engagement ushered in a new era the nation. of InterACT events and dramaturgical publications, inviting everyone to explore what goes on behind the scenes.

American Conservatory Theater Board of Trustees (As of September 2017) The Board of Directors of the M.F.A. Program Kirke M. Hasson Ray Apple Peter Pastreich Joan Danforth CHAIR Lesley Ann Clement Carey Perloff Dagmar Dolby Abby Sadin Schnair Kay Yun Richard T. Davis-Lowell Robina Riccitiello William Draper III CHAIR PRESIDENT Jerome L. Dodson Sally Rosenblatt John Goldman Michael G. Dovey Rusty Rueff Kaatri Grigg Sara Barnes Nancy Livingston IMMEDIATE PAST CHAIR Olympia Dukakis Abby Sadin Schnair James Haire Carlotta Dathe Sarah M. Earley Lori Halverson Schryer Kent Harvey Frannie Fleishhacker Celeste Ford Frannie Fleishhacker Jeff Spears Sue Yung Li Arnie Glassberg VICE CHAIR Ken Fulk Robert Tandler Christine Mattison Christopher Hollenbeck Priscilla Geeslin Dianne Hoge Patrick S. Thompson Joan McGrath Luba Kipnis VICE CHAIR Jo S. Hurley Joaquin Torres Deedee McMurtry Linda Kurtz David Riemer Jeri Lynn Johnson Jeff Ubben Mary S. Metz Jennifer Lindsay VICE CHAIR Alan Jones Adriana Lopez Vermut Toni Rembe Joseph Ratner Steven L. Swig Jascha Kaykas-Wolff Susy Wadsworth Cherie Sorokin Toni Ratner Miller VICE CHAIR James H. Levy Nola Yee Alan L. Stein Toni Rembe Heather Stallings Little Barry Lawson Williams Sally Rosenblatt Linda Jo Fitz TREASURER Janet V. Lustgarten EMERITUS Carlie Wilmans Anne Shonk Jamie Martin ADVISORY BOARD Melissa Smith Daniel E. Cohn Jeffrey S. Minick Barbara Bass Bakar Patrick S. Thompson SECRETARY Michael P. Nguyen Rena Bransten Alan L. Stein Martim Oliveira Jack Cortis CHAIR EMERITUS

American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92

415.749.2228 5 Although Small Mouth Sounds made a lot of noise when it premiered in New York, this crowd-pleasing comedy started life at a visit to a silent retreat. “I didn’t know what I was getting myself into,” playwright Bess Wohl says. “I didn’t even realize that we were going to be in silence!” But while the Drama Desk Award–winning playwright was out of her comfort zone, the experience inspired the idea for a story.

Wohl’s play follows six disparate souls who arrive for a silent retreat in search of answers from an unseen guru. They’re supposed to be quiet, to allow their minds to clear and the meditation to open up their souls, but silence and real life aren’t always in harmony.

BY BESS WOHL DIRECTED BY RACHEL CHAVKIN

BEGINS OCT 11 A.C.T.’S STRAND THEATER ACT-SF.ORG | 415.749.2228 “I was drawn to the funny and frustrating Small Mouth Sounds combines the miscommunications that happen in comedy of flawed humans looking for enforced silence,” says Wohl. “But soon I help with an affectionately satirical look stumbled on the fact that most people who at the mindfulness industry. Acclaimed come to a retreat have a very strong need. by critics and audiences alike, this bold A need about wanting a reprieve from the but intimate A.C.T. production is the first most painful aspects of being alive.” stop on the West Coast for the highly anticipated national tour.

“WIT, COMPASSION, AND SPARKLE . . .

THE SOUND OF SILENCE ONSTAGE HAS RARELY MADE SUCH SWEET MUSIC!”

—THE NEW YORK TIMES 2017–18 SEASON SAN FRANCISCO SYMPHONY New Season on Sale Now MAY 1961 PHOTO BY DON HUNSTEIN COURTESY OF SONY MUSIC ENTERTAINMENT MUSIC SONY OF COURTESY HUNSTEIN MAY 1961 BY DON PHOTO PHILHARMONIC YORK NEW THE STAGE WITH ON BERNSTEIN LEONARD

MTT AND THE SF SYMPHONY CELEBRATE BERNSTEIN’S CENTENNIAL From Symphonic Dances from West Side Story SFSYMPHONY.ORG/1718SEASON to Candide in Concert, experience the vibrant 415-864-6000 joy of Leonard Bernstein’s music in this year-long tribute to one of the greatest composers, conductors, and educators of the 20th century.

EAP full-page template.indd 1 8/21/17 1:40 PM A.C.T. Artistic Director Carey Perloff, Dramaturg Michael Paller, Associate Director Stephen Buescher, actor John Douglas Thompson, and Costume Director Jessie Amoroso at the first rehearsal for Hamlet. PHOTO BY ELSPETH SWEATMAN BY PHOTO

WHAT’S INSIDE

ABOUT THE PLAY INSIDE A.C.T.

11 LETTER FROM THE 26 REFUSE THE HOUR EDITOR SIMON HODGSON ARTISTIC DIRECTOR William Kentridge Takes On Time By Carey Perloff By Simon Hodgson ASSOCIATE EDITOR ELSPETH SWEATMAN 14 SPEAKING TO THE WORLD 28 BUILDING BRIDGES An Interview with Actor CONTRIBUTORS A.C.T. Unites Young Bay Area CAREY PERLOFF John Douglas Thompson Actors and Community Partners TAYLOR STEINBECK By Simon Hodgson By Taylor Steinbeck 16 FROM FULBRIGHT TO FUKUSHIMA The Making of Hamlet By Elspeth Sweatman and Simon Hodgson VOLUNTEER! A.C.T. volunteers provide an invaluable service with their time, enthusiasm, and love of theater. Opportunities 18 LIVING SPEECH include helping out in our performing arts library and ushering in our theaters. act-sf.org/volunteer New Words and Phrases Coined in Hamlet

By Elspeth Sweatman COVER PHOTO BY NIGEL PARRY/CPi SYNDICATION

DON’T JUST SIT THERE . . . SMALL MOUTH SOUNDS AT THE STRAND THEATER

BIKE TO THE THEATER NIGHT OUT WITH A.C.T.* WENTE VINEYARDS WINE SERIES Oct 11, 6:30 PM Nov 1, 7:30 PM Nov 14, 6:30 PM Ride your bike to A.C.T. and take Mix and mingle at this hosted Meet fellow theatergoers at advantage of secure bike parking postshow LGBT party. this hosted wine-tasting event. and low-priced tickets at our preshow At A.C.T.’s free InterACT mixer, presented in partnership with THEATER ON THE COUCH* PLAYTIME events, you can mingle with the San Francisco Bicycle Coalition. Nov 3, 7:30 PM Dec 2, 12:30 PM cast members, join interactive Take part in a lively conversation with Get hands-on with theater at this workshops with theater artists, TECH NIGHT Dr. Mason Turner, chief of psychiatry interactive preshow workshop. Oct 12, 5:30 PM at Kaiser Permanente San Francisco and meet fellow theatergoers Join us at a neighborhood bar for a Medical Center. To learn more and order tickets at hosted celebrations in our preshow happy hour. for InterACT events, lounges. Join us for Small Mouth AUDIENCE EXCHANGE* visit act-sf.org/interact. Sounds and InterACT with us! KDFC PROLOGUE Nov 7, 7:30 PM; Nov 15, 2 PM; Oct 24, 5:30 PM Nov 19, 2 PM *Events take place immediately Go deeper with a fascinating preshow Join us for an exciting Q&A following the performance discussion with a member of the Small with the cast following the show. Mouth Sounds artistic team. 415.749.2228 9 A WICKEDLY SHARP COMEDY ABOUT EXPERIENCE A.C.T.’S A NOT-SO-SILENT SILENT RETREAT 17 18 SEASON

PACKAGES START AT $14 A PLAY

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HEISEN BERG

ACT-SF.ORG/JOIN | 415.749.2228 | FROM THE ARTISTIC DIRECTOR

Dear Friends,

A warm welcome to all of you, both those who are returning to are rhetorical remnants of an older play, while the final act A.C.T. and those joining us for the first time. This is the beginning is Shakespeare at his most mature: a man who had lost his of my final season as artistic director, which is almost impossible 11-year-old son Hamnet in 1596 and his father in 1601, would lose for me to imagine. So it’s perhaps fitting that I’m launching my his queen in 1603, and was questioning the very meaning of 25th season with a play as vast and unknowable as Hamlet. It human existence. It seems evident that of the many emotions is remarkable to come to rehearsal every day and encounter preying on Shakespeare’s mind as he wrote Hamlet, grief and something so much bigger than oneself. Not just because bewilderment about death loom large. Hamlet has been so endlessly interpreted over the centuries, but because every time one encounters the play, it yields completely John Douglas Thompson and I have been talking about new questions and ideas. Hamlet since the day we met. Indeed, the play has been the preoccupation of this astonishing classical actor since he started I pulled the play off the shelf the day after the November acting. And now, at last, he has the opportunity to take on 2016 presidential election, longing to make sense of this this richly imagined role. In conceiving this production, John altered world by reading something truly great. In my first and I hoped to avoid constricting the play by contriving literal “re-encounter” with Hamlet, I was struck by the frightening parallels or making obvious equivalencies. We wanted to see resonance to our own time: a prince returns to a dystopian whether Hamlet’s grief, self-doubt, intellect, wit, and emotional kingdom in which everyone whom he has trusted has become zest could be given free rein to express themselves in as a spy or an enemy. His mother, his uncle, his friends, his complex a way as possible. In this, we have had a great deal of girlfriend, all that surround him are now untrustworthy, and help from our creative team. the body politic is rank with the stench of corruption, duplicity, hidden crimes, and false news. It was chilling. As I think about my two decades at A.C.T., a producing organization that is also a major school, what I am most grateful I then reread Jan Kott’s brilliant essay in Shakespeare: Our for is the brilliant artistic support embedded in the organization. Contemporary, in which he argues that Hamlet is like a sponge, For Hamlet, that has meant the collaboration of Michael Paller, soaking up the zeitgeist of whatever moment in history it is Stephen Buescher, Jonathan Rider, Nancy Benjamin, Jake produced. At the same time, the more I explored the play, the Rodriguez, David Coulter, and Elisa Guthertz, while welcoming more mysterious it became. Time is mutable in Hamlet—it’s back James F. Ingalls, and introducing the A.C.T. community to impossible to tell whether it takes place over a matter of the brilliant young designer David Israel Reynoso. It feels as if days, months, or even years, since the Hamlet of Act Five is so this Hamlet adventure is deeply bound up with a rich dialogue different from, and so much more mature than, the Hamlet of and exploration that I have been lucky enough to be a part of the opening. The profound interiority of the play represents for many years at A.C.T. a radical shift for Shakespeare, and much of the process of exploring Hamlet involves a deep dive into the protagonist’s Of course, the most important element in any theatrical complex inner life. collaboration is the audience. It is a remarkable gift to shape a production of Hamlet for one of the most engaged, literate, The critic Harold Bloom theorizes that as a younger man, in opinionated, and passionate audiences in the country. For your roughly 1589, Shakespeare wrote an “ur-Hamlet,” a revenge many years of dialogue and support, I am eternally grateful. drama which he then put aside for a decade. When he finally returned to the story around 1600, he created a new Hamlet that Welcome to Elsinore. begins with revenge and ends with something quite different—a play that plumbs the depths of human consciousness and asks Yours, how we are ever able to know ourselves, let alone anyone else. According to Bloom, speeches such as those of the Players

Carey Perloff Artistic Director

11 JOIN AMERICAN CONSERVATORY THEATER FOR

Saturday, December 9, 2017 11:30 a.m. MACY’S, UNION SQUARE Holiday Lane, Level 6

A FESTIVE DAY OF MEMORY-MAKING FOR THE WHOLE FAMILY featuring holiday arts & crafts, caroling, and special visits from Charles Dickens’s beloved characters, followed by a matinee performance of A Christmas Carol.

PRESENTING HOST

For tickets or more information, visit act-sf.org/dickens or call 415.439.2314. CAREY PERLOFF, Artistic Director PETER PASTREICH, Executive Director PRESENTS

BY WILLIAM SHAKESPEARE STARRING JOHN DOUGLAS THOMPSON DIRECTED BY CAREY PERLOFF

CREATIVE TEAM CAST (IN ORDER OF SPEAKING) ASSOCIATE DIRECTOR STEPHEN BUESCHER SCENIC AND BARNARDO, COSTUME DESIGNER DAVID ISRAEL REYNOSO GUILDENSTERN, PRIEST VINCENT J. RANDAZZO** LIGHTING DESIGNER JAMES F. INGALLS FRANCISCO, ROSENCRANTZ, SOUND DESIGNER JAKE RODRIGUEZ GRAVEDIGGER 2 TEDDY SPENCER* COMPOSER DAVID COULTER HORATIO ANTHONY FUSCO* DRAMATURG MICHAEL PALLER MARCELLUS, CAPTAIN, CASTING DIRECTOR JANET FOSTER, CSA OSRIC, PLAYER PETER FANONE** VOICE AND TEXT COACH NANCY BENJAMIN CLAUDIUS, GHOST, STEVEN ANTHONY JONES* FIGHT DIRECTOR JONATHAN RIDER PLAYER QUEEN, VOLTEMAND, ASSISTANT TO THE DIRECTOR NAILAH HARPER-MALVEAUX MESSENGER ADRIANNA MITCHELL† LAERTES, LUCIANUS TEAGLE F. BOUGERE* POLONIUS DAN HIATT* STAGE MANAGEMENT HAMLET JOHN DOUGLAS THOMPSON* STAGE MANAGER ELISA GUTHERTZ* GERTRUDE DOMENIQUE LOZANO* ASSISTANT STAGE MANAGER CHRISTINA HOGAN* OPHELIA RIVKA BOREK† STAGE MANAGEMENT FELLOW ERIN SWEENEY PLAYER KING, GRAVEDIGGER 1 GRAHAM BECKEL* FORTINBRAS JOMAR TAGATAC*

THIS PRODUCTION MADE POSSIBLE BY

COMPANY SPONSORS JEROME L. AND THAO N. DODSON UNDERSTUDIES BARRY WILLIAMS AND LALITA TADEMY LAERTES TEDDY SPENCER*

EXECUTIVE PRODUCERS PRIEST, OSRIC, JO S. HURLEY GRAVEDIGGER 1 DAN HIATT* CHRISTOPHER AND LESLIE JOHNSON CLAUDIUS, GHOST GRAHAM BECKEL* SUSAN A. VAN WAGNER KAY YUN AND ANDRE NEUMANN-LORECK HAMLET, PLAYER, PLAYER KING JOMAR TAGATAC* ASSOCIATE PRODUCERS GERTRUDE, PLAYER ARNIE AND SHELLY GLASSBERG QUEEN, LUCIANIUS, MARCIA AND GEOFFREY GREEN POLONIUS, VOLTEMAND STACY ROSS* MARJORIE PERLOFF ROSENCRANTZ, GUILDENSTERN, HORATIO, MARCELLUS ALAN LITTLEHALES* CAPTAIN ANTHONY FUSCO* FORTINBRAS, *Member of Actors’ Equity Association, the union of GRAVEDIGGER 2 VINCENT J. RANDAZZO** professional actors and stage managers in the United States FRANCISCO RIVKA BOREK† **Member of the A.C.T. M.F.A. Program class of 2018 †Member of the A.C.T. M.F.A. Program class of 2018 appearing OPHELIA, BARNARDO ADRIANNA MITCHELL† in this production courtesy of Actors’ Equity Association MESSENGER PETER FANONE**

415.749.2228 13 ABOUT THE PLAY SPEAKING TO THE WORLD AN INTERVIEW WITH ACTOR JOHN DOUGLAS THOMPSON BY SIMON HODGSON PHOTO BY BRAD AMOROSINO BRAD BY PHOTO

14 ACT-SF.ORG Ever since graduating from drama school, John Douglas Adrian Lester in the Peter Brook production. He’s the only Thompson has been thinking about playing Hamlet. Other black Hamlet I’ve ever seen. There needs to be more diversity, great Shakespearean roles arrived—Othello, Antony, Richard not only in a Hamlet, but in a Richard. We need to see these III, Macbeth—though never the prince of Denmark. But roles played by all kinds of people. I’m not just talking black, Thompson never gave up hope. When he came to A.C.T. in Latino, I’m talking disabled, gender-blind casting. We need 2015 to prepare for Satchmo at the Waldorf, Thompson talked to really mix it up. Shakespeare is awesome. The way he with Artistic Director Carey Perloff about the role. And now addresses our core humanity means that anyone who has the he’s back—in Hamlet. “Be careful what you wish for!” he says. chops, the imagination, and the force should be able to do it. “It was so much more romantic with the play being that thing I hadn’t gotten to yet. But now I have to do it. And that’s Where do you get inspiration for creating characters? terrifying.” We sat down with Thompson to talk about building What makes acting wonderful is that we’re constantly doing a character, the pain of preparation, and returning to The Geary. research on the streets of our lives. As I walk around the street, I’m thinking, “This person moves like a Hamlet,” or “They’re dressed like a Hamlet.” I’m always on the lookout for little things that I can bring into the patchwork of the “THERE’S SOMETHING ABOUT WANTING character. It can be an item of clothing, a gesture, or a TO BE PART OF SOMETHING SO MASSIVE piece of music that speaks to me. In the San Francisco Museum of Modern Art, I was struck by the Richard Serra AND UNIVERSAL. I WANT TO SEE WHAT installation Sequence (2006), those massive steel walls I WILL BE LIKE IN THAT STORM.” with space for maybe five people to move around. There’s something architectural but also symbolic that spoke to me of the spiraling nature of Hamlet’s dilemma.

What is it about Hamlet that draws you toward it? What part of the production process are you looking It’s everything. It’s not just the play but the role itself, forward to? because the role is so iconic and synonymous with the Finding Hamlet’s journey for myself. Then knowing that I can journey that the character goes through. There’s something go back and do it again and again. There’s something about about wanting to be part of something so massive and finding the parameters of performance and testing those universal. I want to see what I will be like in that storm. boundaries. It will take me until the actual performance to find that and be confident about it. I look forward to it, but it’s a This is a role traditionally associated with a younger actor. painful, arduous, joyful, anxiety-ridden process. How do you feel about taking on the role in your fifties? Recently I was reading in my Arden Shakespeare about English What did you take from your first experience at The Geary actors playing Hamlet when they were 70. We’re talking early with Satchmo at the Waldorf? days now, centuries ago, but certainly there were actors who When we did Satchmo in The Geary—that was the biggest played it from early in their career to when they were in their place we’d ever performed it—I realized it was the kind sixties and seventies. It’s possible, because Shakespeare’s of house where ideas can start small but grow big. So works are so dynamic and universal that sometimes age by the time you get to some of the other major aspects doesn’t matter. of the play, these ideas have been rooted and they’ve been growing with the audience. The Geary is the kind When I came out of drama school at 29, Hamlet was always of theater that a classical actor dreams of performing in my purview. It was just a question of when. After I did five in because it provides the actor with a relationship to Othellos, I thought it was too late—I can’t go back and do the whole. It’s like you’re speaking to the world. Hamlet. I must go forward and do Richard III and Macbeth and think about Lear down the road. While I was always looking for the opportunity, I also knew that I was maybe too long in the tooth and that opportunity had passed me by.

Which other Hamlets have you researched? I saw Simon Russell Beale do it twice. That might be the Want to know more about Hamlet? Words on Plays is full production that affected me most because he’s a phenomenal of original essays and interviews that give you a behind- actor and he brings a great deal of humanity and passion the-scenes look. Proceeds from sales of Words on Plays to his work. It wasn’t Hamlet the prince. He was Hamlet the benefit A.C.T.’s education programs. guy. I like that. I’ve seen Ralph Fiennes. I’ve watched DVDs of Richard Burton and Laurence Olivier. I’ve seen a taping of Available at the box office and lobby, at the bars, and online at act-sf.org/wordsonplays.

415.749.2228 15 ABOUT THE PLAY FROM FULBRIGHT TO FUKUSHIMA THE MAKING OF HAMLET BY ELSPETH SWEATMAN AND SIMON HODGSON

Set rendering, by David Israel Reynoso, for A.C.T.’s production of Hamlet.

OPPOSITE Director Carey Perloff and Dramaturg Michael Paller.

16 ACT-SF.ORG As a Fulbright Fellow at Oxford University, Carey Perloff saw her first performance ofHamlet and was hooked. “The draw was Shakespeare’s language,” she says. “It was unbelievably seductive.” For the next 30 years, she crossed continents to see imaginative new renditions of the classic: Peter Brook’s version in Paris starring Adrian Lester, Jonathan Goad at Stratford, Jude Law on Broadway, and Diane Venora at The Public Theater. In her final year as artistic director of A.C.T.,

Perloff takes on Hamlet for the first time, joined by a cast PHOTO BY ELSPETH SWEATMAN and crew filled with seasoned collaborators, including John Douglas Thompson. “Hamlet is a journey you take with a great actor,” she says. “We cannot overestimate what it is for this major African American actor to play Hamlet at The Geary. John is as good as it gets.”

For Thompson, another theater veteran fulfilling a lifelong dream with this production, it is a partnership of equals. “I wanted a theater maker to do this play,” he says. “Carey’s had 25 years creating theater, not only directing, but running a company, writing plays, writing nonfiction. For a play like Hamlet, which is so all-encompassing, I wanted a mind that is almost Renaissance driven, that can see the big picture and notice the intimate details, that has a little of everything and can put it all together.”

From the very start of the editing process, this Hamlet has seems barely possible to breathe. “I looked at images of what been a complete collaboration, with Perloff and Thompson Chernobyl looks like now,” says Reynoso. “There was a picture working alongside A.C.T. Dramaturg Michael Paller to shape of an overgrown amusement park that never got to host any the script. As they mined Shakespeare’s text, they began to visitors. The idea that something invisible is poisoning the uncover—amid the narrative drive of intrigue and revenge— landscape is interesting. You never feel it, but if you brought recurring and resonant images of toxicity and pollution. out a Geiger counter, there’s a sense of that vibration in the air.” Hamlet’s father is murdered with poison, while Hamlet himself speaks of an “ulcerous place” filled with “rank corruption,” These images and ideas informed the production’s set design describes the earth as “a foul and pestilent congregation of while taking advantage of the dramatic dimensions of The vapours,” and warns that “foul deeds will rise.” Geary. “Carey and I wanted to create a space that we knew intimately and yet also felt completely foreign,” says Reynoso. “We looked at images of Fukushima, toxic waste, and train “We got this feeling when we looked at industrial landscapes tracks going nowhere,” says Perloff. “Places pitting the such as factories or warehouses. The set needed to be a space vulnerability of humanity against the toxicity of the world. like a fortress—where someone could wield a weapon—or a This is a place where we’ve done something to destroy the court, where someone could throw a fabulous party. As an environment in which we live.” These ideas became the audience, you’re never able to peg what the space is.” intellectual scaffolding for the design of A.C.T.’s Hamlet, the perfect jumping off point for longtime collaborators such as The set design’s deliberate duality is the key to the production. Lighting Designer James F. Ingalls (The Invention of Love), This Elsinore is a world swirling with rumor and falsehood, Sound Designer Jake Rodriguez (The Orphan of Zhao), and filled with kings and courtiers who say one thing and do Composer David Coulter (A Thousand Splendid Suns), as another. Reynoso’s vision incorporates majestic elements— well as a new partner in Scenic and Costume Designer towering walls and ramparts—but hints at the corruption David Israel Reynoso. embedded in Shakespeare’s text with heavy, abattoir-style sheeting through which we see images we can’t quite decipher. One of the images Reynoso unearthed was a still from a 1964 Is that Polonius we see hiding? Is it Claudius? In Perloff’s Michelangelo Antonioni film,Red Desert. A woman in a green, Hamlet, no one is exactly who he claims to be, and no one feels Jackie Kennedy–style coat stands, holding the hand of a small completely safe, least of all the king. boy, in front of a factory’s concrete smokestack. Both designer and director were struck by the juxtaposition between elegant costumes and an industrial environment in which it

415.749.2228 17 LIVING SPEECH NEW WORDS AND PHRASES COINED IN HAMLET BY ELSPETH SWEATMAN

In Hamlet, William Shakespeare created more than 100 new he actually coined, but the total number is believed to be words and coined some of the English language’s most roughly 1,700. “It’s a thrill for each new generation to hear memorable phrases. Some sound archaic and foreign to Shakespeare’s words for the first time,” says Artistic Director our modern ears—such as “John-a-dreams”—but others Carey Perloff. “Young people don’t know that when somebody we continue to use to this day. Shakespeare transformed says ‘It’s Greek to me,’ that the phrase was actually coined by a nouns into verbs, added prefixes and suffixes, drew upon character in Shakespeare. There is nothing like Shakespeare for his knowledge of Latin to mold new words, and imbued making those discoveries. Hamlet is full of those.” words with new meanings. Scholars debate how many words

18 ACT-SF.ORG WHO’S WHO IN HAMLET GRAHAM Hong Kong Arts Festival). Borek has PETER BECKEL* participated in readings and FANONE** (Player King, workshops with The Eugene O’Neill (Marcellus, Captain, Gravedigger 1) Theater Center’s National Playwrights Osric, Player) is in previously appeared Conference, Clubbed Thumb, Ars his third year of in A.C.T.’s Nova, and New Georges. Favorite A.C.T.’s Master of productions of The M.F.A. credits include roles in Romeo Fine Arts Program Tempest, Arcadia, and Juliet, The Good Woman of in acting. Old Times, and The Government Setzuan, Cardenio, Lungs, and Doubt, A native of Alexandria, Virginia, Fanone Inspector, all directed by Carey Perloff. A Parable. Borek is an alumna of the makes his professional debut on the He made his Broadway debut in Preston Acting Apprentice Company at Actors Geary stage with Hamlet. Conservatory Jones’s A Texas Trilogy. He was a Theatre of Louisville and has a BA in credits include The Good Woman of member of the Obie Award–winning playwriting from Bard College at Setzuan (Mr. Shu Fu; music co-writer), cast of Christopher Durang’s The Simon’s Rock. Romeo and Juliet (Lord Capulet), Marriage of Bette and Boo and Nowhere Man (Jim; writer/director), originated roles in John Patrick TEAGLE F. Fatherhood (himself; co-creator/ Shanley’s Savage in Limbo, The Dreamer BOUGERE* director), and The Rocky Horror Show Examines His Pillow, and The Big Funk (Laertes, (Eddie/Dr. Scott). Fanone trained at the at The Public Theater. He had the Lucianus) played Royal Academy of Dramatic Art in pleasure of working with Harry Casca in the recent London, Yale University’s Summer Kondoleon in the downtown, late-night production of Conservatory for Actors, and classic The Vampires. Film credits Julius Caesar in Georgetown University, where he include Leaving Las Vegas, L.A. Central Park for graduated cum laude with a double BA Confidential, Bulworth, Brokeback the NYSF Public Theater. His Broadway in theater and government and a minor Mountain, and Nocturnal Animals. He work includes The Crucible, A Raisin in in Italian. At Georgetown, Fanone will appear with Morgan Freeman in the the Sun, and The Tempest. Other work performed with the Mask and Bauble November release of Ron Shelton’s Villa for The Public includes Antony and Dramatic Society and sang with The Capri. He made his film debut as Ford in Cleopatra (with Vanessa Redgrave) Georgetown Chimes, Georgetown’s James Bridges’s 1973 classic The Paper and Henry V. Regionally, Bougere oldest all-male a cappella group. Fanone Chase, written by John Jay Osborn, Jr. created the role of The Poet in the also speaks Spanish and Italian, has and shot by Gordon Willis. one-man version of An Illiad at the released 14 original songs on iTunes and Pittsburgh Public Theater, where he Spotify, and has taught in A.C.T.’s Young RIVKA BOREK† also played the title role in Othello. Conservatory. (Ophelia) is in her Selected regional work includes The third year of the Real Thing (Studio Theatre, ANTHONY A.C.T. Master of Fine Washington DC); and Blue Door and FUSCO* (Horatio), Arts Program. Joe Turner’s Come and Gone, both an A.C.T. Resident Theater credits directed by Delroy Lindo (Berkeley Artist, has appeared include Sense & Repertory Theatre). Bougere created in dozens of Sensibility (Actors the title role in the world premiere of productions here Theatre of Louisville); Oh, Gastronomy! Ralph Ellison’s Invisible Man (Court since 1999. Favorites (36th Humana Festival of New American Theatre) and has worked include The Hard Plays); The Taming of the Shrew, Romeo internationally, playing the title role in Problem; Ah, Wilderness!; Arcadia; and Juliet, Timon of Athens, The Great Macbeth (Florence, Italy). Film work Clybourne Park; The Homecoming; At Gatsby, and A Christmas Carol (Alabama includes Night at the Museum, A Home at the Zoo; Dead Metaphor; Hedda Shakespeare Festival); Othello (Hudson Beautiful Mind, and Two Weeks Notice. Gabler; The Three Sisters; Race; Valley Shakespeare Festival tour); On television, Bougere has appeared November; and Love and Information. Argument Sessions (Ars Nova ANT in The Mist, The Path, The Big C, Cosby, Bay Area credits include The Christians at Festival); As You Like It (Carolinian Third Watch, and seven episodes of the San Francisco Playhouse; The Intelligent Shakespeare Festival); and Who’s Afraid Law and Order franchise. Homosexual’s Guide to Capitalism and of Monsters? (Edinburgh Festival Fringe, Socialism with a Key to the Scriptures

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States **Member of the A.C.T. M.F.A. Program class of 2018 †Member of the A.C.T. M.F.A. Program class of 2018 appearing in this production courtesy of Actors’ Equity Association 415.749.2228 19 and Vanya and Sonia and Masha and the Bay Area. Most recently, he directed ADRIANNA Spike at Berkeley Repertory Theatre; 12 Philip Kan Gotanda’s After the War MITCHELL† plays at California Shakespeare Theater, Blues at UC Berkeley. He has worked (Player Queen, including The Tempest, Pygmalion, professionally on stage, and in television Voltemand, Candida, Arms and the Man, and King and film, for 40 years. He has performed Messenger) makes Lear; and Sister Play at Magic Theatre. in the works of August Wilson, Charles her Geary stage Fusco appeared in The Real Thing and Fuller, Athol Fugard, Tom Stoppard, debut as a third- The Real Inspector Hound on Broadway; Gotanda, Samuel Beckett, Harold Pinter, year actor in A.C.T.’s Cantorial, Cafe Crown, The Holy Terror, Molière, Shakespeare, Anton Chekhov, Master of Fine Arts Program. This Man and Superman, and A Life in the and others. He was in the original cast of summer Mitchell was seen playing Juliet Theatre off Broadway; and many other the Pulitzer Prize–winning A Soldier’s in Chautauqua Theater Company’s regional theater productions. He trained Play produced by the Negro Ensemble Romeo and Juliet, directed by Dawn at Juilliard and The Barrow Group School. Company (Obie Award for Distinguished Monique Williams. Her other regional Ensemble Performance). He performed, Shakespeare credits include Isabella in DAN HIATT* taught, and directed at A.C.T. for 22 years Actor’s Shakespeare Project’s Measure (Polonius) was seen as a member of the core acting company. for Measure and Tranio in Chautauqua’s at A.C.T. last fall as His film and television credits include two The Taming of the Shrew. Mitchell’s James Reiss in King seasons of Midnight Caller and a favorite educational credits include: Charles III. Other recurring role on Trauma. Jones received Topdog/Underdog, Las Meninas, Black A.C.T. appearances his theater training at Karamu House in Orpheus: Una Historia de Amor, Love include Sid Davis in his hometown of Cleveland, Ohio. He is a and a Bottle, and A Subtlety: Black Ah, Wilderness!, the graduate of Yankton College. Women, Sugar, and Power (which she ensemble of Love and Information, co-wrote). Mitchell is a writer, poet, and Stephen Hopkins in 1776, Tom in Round DOMENIQUE teaching artist from Atlanta, Georgia, a and Round the Garden, Bob Acres in The LOZANO* Phi Beta Kappa graduate of Spelman Rivals, Guildenstern in Rosencrantz and (Gertrude) is an College, and an alumna of the British Guildenstern Are Dead, and Cornelius A.C.T. Resident American Drama Academy. Hackl in The Matchmaker. His Bay Area Artist. She directs credits include Joe Turner’s Come and the mainstage VINCENT J. Gone and Dinner with Friends at Berkeley production of RANDAZZO** Repertory Theatre; The Life and A Christmas Carol, (Barnardo, Adventures of Nicholas Nickleby and and directs and teaches in the A.C.T. Guildenstern, many others at California Shakespeare Master of Fine Arts and Young Priest) is currently Theater; The 39 Steps at TheatreWorks; Conservatory programs. Directing in his third year of Picasso at the Lapin Agile at Theatre on projects with the M.F.A. Program A.C.T.’s Master of the Square; Breakfast with Mugabe at include The Good Woman of Setzuan, Fine Arts Program. Aurora Theatre Company; and Anne The Skin of Our Teeth, Sueño, Happy to Originally from Syracuse, New York, Boleyn at Marin Theatre Company. Stand, The Comedy of Errors, Othello, Randazzo is making his professional Regional theater credits include work and Twelfth Night. Directing work with debut on the Geary stage. Conservatory with Shakespeare Theatre Company, the YC includes Fields of Gold: The credits include Las Meninas (Painter/ Seattle Repertory Theatre, Arizona Music of Sting, I’m Still Standing: Doctor), Romeo and Juliet (Friar Theatre Company, Huntington Theatre A Celebration of the Music of Elton John, Laurence/Lord Montague), Faustus Company, Pasadena Playhouse, Ford’s the world premieres of Staying Wild and (Wagner, co-director), Tartuffe (Dorine), Theatre, and Theatre Calgary. Homefront, and the West Coast Love and a Bottle (Sparkwell/Brush), and premieres of Jeffrey Hatcher’s Korczak’s Cardenio (Rudi). In addition to his work STEVEN Children and Wendy MacLeod’s in the conservatory, Randazzo has spent ANTHONY Schoolgirl Figure. Acting work includes the past three years traveling to Italy and JONES* over 20 productions at California various fringe festivals in Canada (Claudius, Ghost) Shakespeare Theater, A.C.T., Berkeley performing in Orson Welles/Shylock—A was the artistic Repertory Theatre, Oregon Shakespeare Docu-Fantasy Radio Play (Orson Welles/ director of the Festival, San Jose Repertory Theatre, Roger Hill) with The Shylock Project. Lorraine Hansberry Magic Theatre, and San Jose Stage Prior to attending A.C.T., Randazzo Theatre, the premier Company. African American theater company in

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States **Member of the A.C.T. M.F.A. Program class of 2018 †Member of the A.C.T. M.F.A. Program class of 2018 appearing in this production courtesy of Actors’ Equity Association 20 ACT-SF.ORG received his BA in theater from Le Moyne Passage (New Conservatory Theatre College, where he performed in various Center). He has also been in workshops RHODA mainstage productions. for A.C.T., Magic Theatre, Marin Theatre GOLDMAN Company, Oregon Shakespeare Festival, PLAZA TEDDY TheatreWorks, and Playwrights SPENCER* Foundation. Tagatac earned a BA in (Francisco, theater from San Diego State University Rosencrantz, and an M.F.A. from A.C.T. Gravedigger 2) makes his A.C.T. JOHN debut with Hamlet. DOUGLAS Spencer’s regional THOMPSON* credits include As You Like It, Much Ado (Hamlet) was last about Nothing, and Romeo and Juliet at seen at A.C.T. in Marin Shakespeare Company; Cabaret Satchmo at the and Henry IV at Dallas Theater Center; Waldorf. Broadway Assassins and Clybourne Park at credits include Milwaukee Repertory Theater; 4000 Jitney (Tony Award nomination for Best Miles at Capital Stage Company; Sense Featured Actor in a Play, Tony Award for and Sensibility at Sacramento Theatre Best Revival of a Play), A Time to Kill, Company; Macbeth and Othello at and Cyrano de Bergerac. His off- Arabian Shakespeare Festival; and A Broadway credits include Troilus and Christmas Carol at Center REPertory Cressida, and Julius Caesar at The Public Company. As a member of the Reduced Theater; The Iceman Cometh at Brooklyn Shakespeare Company, he has Academy of Music (Obie and Drama performed in the US and international Desk awards); A Doll’s House, The Father, premieres of William Shakespeare’s Long Macbeth, Othello (Obie and Lucille Lortel Lost First Play (abridged) at the Folger awards), and Tamburlaine the Great At Rhoda Goldman Plaza, theShakespeare staff, cuisine, Library and programs, Edinburgh (Obie and Drama Desk awards) at and services allow me to doFestival what Fringe.I love—like His on-camera volun work- Theatre for a New Audience; Satchmo at includes Workaholics (Comedy Central) the Waldorf (Drama Desk and Outer teering for my amazing Giants.and Steve And Jobs the (Universal convenient Pictures). He Critics Circle awards) at the Westside Lower Pac Heights address holdsmakes an MFAthis inunsurpassed acting from Southern Theatre; The Emperor Jones at The Irish Methodist University, and is a company Repertory Theatre (Joe A. Callaway assisted living and memory membercare community with the Arabian my Shakespeare home Award); and Hedda Gabler at New York team. For your personal visit,Festival connect and PlayGround. with Candiece, This November, Theatre Workshop. Thompson’s regional 415.345.5072 or [email protected] will be playing Philiste in The credits include Joe Turner’s Come and Liar at Center REP. Gone at the Mark Taper Forum (Ovation Living Award); Antony & Cleopatra at Hartford Well With JOMAR Stage; Richard III at Shakespeare & TAGATAC* Company; King Lear at Yale Repertory AssistanceSM (Fortinbras) recently Theatre; and Jesus Hopped the ‘A’ Train played Jacques in As at The Wilma Theater (Barrymore Is My You Like It (California Award). His television and film credits Shakespeare include The Immortal Life of Henrietta Independence. Theater), Doctor/ Lacks, Wolves, Madam Secretary, Person Smuggler/Well of Interest, The Bourne Legacy, Glass For your personal visit, Inhabitants in You For Me For You Chin, Law & Order, Law & Order: Special connect with Candiece, (Crowded Fire Theater), and Fortunado/ Victims Unit, Conviction, Michael Clayton, 415.345.5072 or Mata in Monstress (A.C.T.). Other credits Midway, and Malcolm X. include Lin Bo in Caught (Shotgun [email protected]. Players); Clarín in Life Is a Dream Encore 2180 Post Street (California Shakespeare Theater); Jesus in Barbara GoldmanIndia , Every Five Minutes, The Happy San Francisco, CA rgplaza.org 1/3 Page VerticalOnes, and Perlita/General Ledesma in Dogeaters (Magic Theatre); and Rights of Founded by Jewish Family and Children’s Services and Mount Zion Health Fund RCFE# 385600125 2.25” w x 9.875” h / 4 Color 415.749.2228 21

CLIENT RGP PUB Encore REF NO RGP745-01cg - Barbara Goldman AD TYPE 1/3 page vertical, 4C SPECS 2.25” w x 9.875” h / 4 Color ISSUE 9/20 - 10/15/17 MAT’LS DUE 8.15.17 VERSION 1 AGENCY RESIN CONTACT Tim Paschke – 415 987 4274 ALAN WILLIAM SHAKESPEARE Project, Kingdom City, and the DNA New LITTLEHALES* (Playwright) was born in 1564 in Work Series presentation of Chasing (Understudy) is a Stratford-upon-Avon, England. A writer, the Song. His work includes The Old recent graduate of actor, and poet, Shakespeare rose to Globe’s productions of Red Velvet, the A.C.T. Master of prominence in late-sixteenth-century The Blameless, Constellations, Twelfth Fine Arts Program. London with his Henry VI trilogy, and Night, Arms and the Man, Water by the He last appeared on went on to write some of Western Spoonful, Double Indemnity, and Be a the Geary stage as theater’s best known works: King Good Little Widow. His other designs Young Scrooge in A Christmas Carol. Lear, Macbeth, Romeo and Juliet, A include Healing Wars (Arena Stage; M.F.A. Program credits include King Midsummer Night’s Dream, and Much Helen Hayes Award nomination for Louis XIV in Las Meninas, Man on ledge Ado about Nothing. His collected scenic design); Futurity, Cabaret, The in 7 Stories, Lucentio in The Taming of writings comprise 154 sonnets, 38 Snow Queen, Copenhagen, No Man’s the Shrew, and Brad Majors in The Rocky plays, and two narrative poems. Since Land, Hamletmachine, and Abigail’s Horror Show, all at The Strand Theater. his death in 1616, Shakespeare has Party (American Repertory Theater); Littlehales also played Touchstone in become the world’s most produced The Comedy of Errors and Othello As You Like It at the Livermore playwright and his works have been (Commonwealth Shakespeare Company); Shakespeare Festival. Recently, he translated into every modern language. The Woman in Black (The Gloucester taught acting classes for the A.C.T. Stage Company); and Dead Man’s Cell Young Conservatory, and has appeared STEPHEN BUESCHER (Associate Phone (Lyric Stage Company of Boston). in several readings in San Francisco Director) is a movement director/ with Theatre Rhinoceros. He was born choreographer, director, actor, and JAMES F. INGALLS (Lighting and raised in Salem, Oregon, and he teaching artist. Buescher has designed Designer) returns to A.C.T., where received his BFA in acting from Santa movement for A Thousand Splendid he has designed Once in a Lifetime, Fe University of Art and Design in Suns, Monstress, The Orphan of Zhao, Marcus; or The Secret of Sweet, Phèdre, New Mexico. Stuck Elevator, Let There Be Love, and The Tosca Project, A Mother, The Three Underneath the Lintel at A.C.T.; The Sisters, Buried Child, For the Pleasure of STACY ROSS* Imaginary Invalid with Fiasco Theater Seeing Her Again, Goodnight Children (Understudy) at The Old Globe; A Midsummer Night’s Everywhere, Glengarry Glen Ross, The returns to A.C.T., Dream and Private Lives at Long Wharf Invention of Love, and The Duchess of having previously Theatre; A Christmas Carol at Trinity Malfi. Other work in the San Francisco appeared in The Repertory Company; Love’s Labour’s area includes Art Songs (Alonzo King Hard Problem, Lost at Shakespeare Santa Cruz; and LINES Ballet); The 75th Anniversary New Between Riverside Blues for an Alabama Sky at Lorraine Works Festival, Sylvia, The Nutcracker, and Crazy, The Hansberry Theatre. Buescher is the and Silver Ladders (San Francisco Constant Wife, The Gamester, and head of movement for A.C.T.’s graduate Ballet); John Adams’s Doctor Atomic, The Rivals. She has appeared in acting program. In the graduate program, The Death of Klinghoffer, and this productions at Berkeley Repertory he has directed The Taming of the season’s Girls of the Golden West, all Theatre (Cloud Nine; The Green Bird; In Shrew, Black Orpheus: Una Historia directed by Peter Sellars (San Francisco the Next Room, or The Vibrator Play), de Amor, Romeo and Juliet, Galileo, Opera); after the quake, Yellowman, How Aurora Theatre Company (Gidion’s Knot, The Island, The House of Bernarda I Learned to Drive, and The Revenger Hedda Gabler), and San Jose Repertory Alba (which traveled to the Moscow (Berkeley Repertory Theatre); and Layla Theatre (Major Barbara, Hannah and Art Theatre), Archangels Don’t Play and Majnun, Kafka Fragments, Platée, Martin), as well as at Marin Theatre Pinball, and Hotel Paradiso. Buescher is The Hard Nut, and L’Allegro, il Penseroso Company, TheatreWorks, Arizona a graduate of Dell’Arte International. ed il Moderato (Cal Performances). He Theatre Company, Center Stage in often collaborates with The Wooden Baltimore, and Magic Theatre (Any DAVID ISRAEL REYNOSO Floor dancers in Santa Ana. Given Day, Terminus). She was most (Scenic and Costume Designer) recently seen as Benedick in Much Ado is the Obie Award–winning costume JAKE RODRIGUEZ (Sound about Nothing at California Shakespeare designer for Punchdrunk’s Sleep No Designer) is a sound designer and Theater and in the rolling world More (Boston, New York, and Shanghai). composer based out of the San premiere of The Thrush & the Most recently, he designed costumes Francisco Bay Area. Recent credits Woodpecker at Custom Made Theatre for the world premiere of At the Old include An Octoroon at Berkeley Co. She is a member of PlayGround, Place at La Jolla Playhouse. Other Repertory Theatre; The Events at Symmetry Theatre, and Actors’ LJP productions include Tiger Style!, Shotgun Players; A Thousand Splendid Equity Association. Healing Wars, The Darrell Hammond Suns at A.C.T. and Theatre Calgary; The

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 22 ACT-SF.ORG Christians at Playwrights Horizons and for George Street Playhouse, the the Mark Taper Forum; Monstress at Berkshire Theatre Festival, Barrington A.C.T.; Girlfriend at the Kirk Douglas Stage Company, Long Wharf Theatre, Theatre; Mr. Burns, a post-electric Roundabout Theatre Company, and play at A.C.T. and the Guthrie Theater; others. He dramaturged the Russian Thieves at the El Portal Theatre; premiere of Tennessee Williams’s X’s and O’s (A Football Love Story) Small Craft Warnings at Moscow’s at Berkeley Rep and Center Stage Sovremennik Theater. Paller is the in Baltimore; Superheroes at The author of Gentlemen Callers: Tennessee Cutting Ball Theater; The Christians Williams, Homosexuality, and Mid- and brownsville song (b-side for tray) Twentieth-Century Drama; Williams in at Actors Theatre of Louisville; and an Hour; and A Five-Act Play: 50 Years Emotional Creature at Signature Theatre of A.C.T. He has also written theater and Company. Rodriguez is the recipient book reviews for the Washington Post, of a 2004 Princess Grace Award. Village Voice, and Newsday magazine. Before his arrival at A.C.T., he taught DAVID COULTER (Composer) at Columbia University and the State is an English-born multidisciplinary University of New York at Purchase. artist, musician, composer, director, and educator based in the Bay Area. JANET FOSTER, CSA (Casting Since the 1980s, he has directed shows, Director) has cast for A.C.T. for six produced records, and played his seasons including The Hard Problem, musical saw and other assorted weird King Charles III, John, Arcadia, Stuck and less-weird instruments in studios, Elevator, The Orphan of Zhao, Napoli!, theaters, and stages and on recordings Elektra, Endgame and Play, and around the world with the likes of The Scorched. On Broadway she cast Pogues, Tom Waits and Robert Wilson, The Light in the Piazza (Artios Award Kronos Quartet, Laurie Anderson, Yoko nomination), Lennon, Ma Rainey’s Black Ono, and Gorillaz. Coulter curates and Bottom, and Taking Sides (co-cast). directs numerous multi-artist events. Off-Broadway credits include True Credits include Monkey: Journey Love, Floyd Collins, The Monogamist, to the West (Gorillaz and Chen Shi- A Cheever Evening, and Later Life. Zheng), Double Fantasy Live, Rain Dogs Regionally, she has worked at Intiman Revisited, Discreet + Oblique: The Music Theatre, Seattle Repertory Theatre, of Brian Eno, In Dreams: David Lynch California Shakespeare Theater, Revisited, Improbable’s The Eldership Berkeley Repertory Theatre, Yale Project, and An Anatomy Act. His most Repertory Theatre, Goodman Theatre, recent project, Jim Jarmusch Revisited, Steppenwolf Theatre Company, The premiered at Philharmonie de Paris in Old Globe, and American Repertory 2016. At A.C.T. he was associate musical Theater. Film, television, and radio director and multi-instrumentalist on credits include Cosby, Tracey Takes The Black Rider: The Casting of the On New York, The Deal, Advice from a Magic Bullets and the composer and live Caterpillar, The Day That Lehman Died musician of A Thousand Splendid Suns. (Peabody, SONY, and Wincott awards), Four floors and “T” Is for Tom (Tom Stoppard radio of fabulous fabrics MICHAEL PALLER (Dramaturg) plays, WNYC and WQXR). She also joined A.C.T. as resident dramaturg and cast LifeAfter, a GE Theater podcast. since 1952. director of humanities in 2005, where he has been the dramaturg for more ELISA GUTHERTZ* (Stage than 70 productions and workshops. Manager) most recently worked on He began his professional career as A Thousand Splendid Suns at A.C.T. literary manager at Center Repertory and Theatre Calgary. Her numerous Theatre (Cleveland), then worked as other productions for A.C.T. include A script consultant for Manhattan Theatre Night with Janis Joplin, King Charles III, Club and the Eugene O’Neill Theater Chester Bailey, The Realistic Joneses, Center, and has since been a dramaturg Monstress, Love and Information,

415.749.2228 23 Testament, Major Barbara, Underneath music dance theater the Lintel, Arcadia, The Normal Heart, 2017/18 Cal Perform ances SEASON The Scottsboro Boys, Endgame and UNIVERSITY OF CALIFORNIA, BERKELEY Play, Scorched, Clybourne Park, The Caucasian Chalk Circle, The Rainmaker, Théâtre de la Ville, Paris A Number, and Eve Ensler’s The Good State of Siege Body, among others. She has also stage- By Albert Camus managed The Mystery of Irma Vep, Emmanuel Demarcy-Mota, director Suddenly Last Summer, Rhinoceros, Big “Inspiring. A most violent but also Love, Civil Sex, Collected Stories, and realistic descent into hell. The only rampart against dictatorship is courage.” Cloud Tectonics at Berkeley Repertory —La Vie Theatre. Other productions include

Please note: State of Siege is performed The Good Body at the Booth Theatre in French with English supertitles. on Broadway, Big Love at Brooklyn Academy of Music, and The Vagina Oct 21 & 22 ZELLERBACH HALL Monologues at the Alcazar Theatre.

CHRISTINA HOGAN* (Assistant Ian Bostridge, tenor Stage Manager) returns to A.C.T. after Wenwen Du, piano working on Monstress and Love and Schubert’s Winterreise Information. Her other theater credits include The Baltimore Waltz, runboyrun, “It is as if Schubert somehow looked And I and Silence, Hir, Arlington, Every into the future, heard Bostridge sing and Five Minutes, The Happy Ones, Terminus, wrote Winterreise specifically for him.” —Exeunt Magazine Se Llama Cristina, and Any Given Day (Magic Theatre); It Can’t Happen Here (Berkeley Repertory Theatre); A Raisin Nov 10 ZELLERBACH HALL in the Sun, Blithe Spirit, Much Ado about Nothing, The Verona Project, and The Pastures of Heaven (California The Joffrey Ballet Shakespeare Theater); Fuddy Meers Featuring Justin Peck’s In Creases; and Good People (Marin Theatre Annabelle Lopez Ochoa’s Mammatu; and Swedish choreographer Alexander Ekman’s Company); and very still & hard to see Joy, a Cal Performances co-commission (A.C.T. Master of Fine Arts Program). and West Coast Premiere. Hogan has a BA in theater arts from “The verdict is unequivocal: Saint Mary’s College of California. the Joffrey Ballet is dancing as it has never danced before.” —Chicago Sun Times JEROME L. AND THAO N. DODSON (Company Sponsors) have been A.C.T. supporters for many Nov 17–19 ZELLERBACH HALL years. Jerome, a graduate of UC Berkeley and the Harvard Business School, is president of Parnassus Investments, the The Hard Nut nation’s largest mutual fund complex Mark Morris Dance Group committed to ethical and environmental Music by Tchaikovsky (The Nutcracker) guidelines in all the funds it manages, Choreography by Mark Morris which he founded in 1984. He currently First Bay Area Performances in 5 years! serves on the boards of San Francisco “You’ve never seen a Nutcracker Opera and A.C.T. Thao and Jerry have quite like this before.” established scholarship funds for —The Huffington Post music education at the San Francisco Symphony, for undergraduate education Dec 15–24 ZELLERBACH HALL at UC Berkeley, and for high school Season education for 125 girls in Vietnam. calperformances.org Sponsor:

24 ACT-SF.ORG BARRY WILLIAMS & LALITA Realistic Joneses, A Little Night Music, TADEMY (Company Sponsors) Napoli!, Round and Round the Garden, have supported A.C.T.’s Satchmo at Rock ’n’ Roll, Blackbird, and Curse of the Waldorf, Let There Be Love, The the Starving Class. Directors of the Scottsboro Boys, and many other Hurlbut-Johnson Fund, the Johnsons productions. Williams founded Williams support many Bay Area organizations Pacific Ventures, Inc., a real-estate and endowed the Hurlbut-Johnson Chair and private equity investment and in Diabetes Research at UCSF. Leslie consulting firm, in 1987. He serves is the cofounder and president of Epic on various public and not-for-profit Transitions, a Bay Area–based nonprofit boards. Williams is on A.C.T.’s Emeritus dedicated to providing transformational Advisory Board and served as a trustee trek experiences to young adults in from 1998 to 2010. Tademy, a former need of support with life direction. vice president of Sun Microsystems, Inc., is a New York Times best-selling SUSAN A. VAN WAGNER author and has published three (Executive Producer) has lived in the critically acclaimed historical novels: Bay Area for 39 years, having grown Cane River (an Oprah’s Book Club up in Chicago and attended school in pick), Red River, and Citizens Creek. Arizona. She enjoys the A.C.T. executive producer experience of getting to JO S. HURLEY (Executive know the artists and engaging in Producer) is a member of the A.C.T. the artistic process. She has been Board of Trustees. She has been a an A.C.T. subscriber since 2008, a subscriber since 1970 and a donor trustee of the San Francisco Ballet for since 1975. At A.C.T., Hurley is the the past 16 years, and she very much chair of the Prospero Society; a hopes to see A.C.T. and the Ballet member of the Board of Trustee’s work together more in the future. Education & Community Programs Committee, Development Committee, KAY YUN & ANDRE NEUMANN- and the Committee on Trustees and LORECK (Executive Producers) Governance; and a trustee host to an have supported A.C.T.’s King Charles M.F.A. Program actor. She is passionate III, Indian Ink, Battlefield, Love and Proud to about supporting A.C.T. as an executive Information, and Ah, Wilderness! Yun producer as well as in the long term is the president of the A.C.T. Board of through legacy giving. She often joins Trustees, serves on several committees, Support the staff in the V.I.P. Lounge, chatting and hosts an M.F.A. Program actor. Yun with donors about the Prospero and Neumann-Loreck are passionate A.C.T. Society and her love of theater. She is about supporting A.C.T., in particular an ardent patron of the San Francisco its education programs. Yun also Symphony and San Francisco Opera, serves on the board of San Francisco a member of the advisory board University High School. Yun is a partner for Women Philanthropists for the at a private equity firm and Neumann- Personal attention University of Kansas and the University Loreck is a founder and managing thoughtful litigation of Kansas Endowment Association, partner of a consulting company final resolution and a volunteer at Lima Center (a working with hardware start-ups. daytime shelter for the homeless) Our goal is to preserve our LAW FAMILY and the SF-Marin Food Bank. client’s dignity and humanity.

CHRISTOPHER AND LESLIE JOHNSON (Executive Producers) FA M I LYLAW G R OUP, P. C . were both born and raised in the Bay Area and have been supporting A.C.T. 575 Market Street, Suite 4000 since 2002. They were executive San Francisco, CA 94105 producers on The Hard Problem, The 415.834.1120 www.sflg.com

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States 415.749.2228 25 INSIDE A.C.T.

Refuse the Hour plays a limited

PHOTOS BY JOHN HODGKISS BY PHOTOS engagement of just three performances at The Geary Theater, November 10–11.

WILLIAM KENTRIDGE REFUSE THE HOUR TAKES ON TIME BY SIMON HODGSON Performers in Dancer and choreographer Dada Artist William Kentridge Refuse the Hour. Masilo performs in Refuse the Hour. in Refuse the Hour.

Drummers beat, dancers twist, and singers whisper a fevered of his collaborator, Harvard science historian Philip Galison, an event—complex, dazzling, and anarchic. A.C.T. audiences studying his work and attending his performances. When the rhythm using old-fashioned speaking trumpets. In his latest Kentridge weaves together ideas about the speed of time, will recognize the theatrical DNA behind Kentridge’s creative opportunity arose to present the exquisite Refuse the Hour, I work, Refuse the Hour, South African artist William Kentridge black holes, the myth of Perseus, and the ways Europe’s chaos. Before finding global success in the fine arts, the leapt at it. Kentridge’s vast imagination, deep humanity, and delivers an electrifying sensory experience spanning visual colonial powers imposed their chronological shackles on the innovative South African artist trained as an actor at L’École relentlessly curious mind have made him one of the seminal arts, opera, and spoken word—surrounded by performers, world. At several moments, the artist challenges the audience: Internationale de Théâtre Jacques Lecoq in Paris. Here he artists in the world today. It is thrilling to me that in my multi-instrumentalists, and three huge metronomes providing “What if we could live our lives backwards?” he asks. “We could returns to his theater roots, allying wondrous set design with final season at A.C.T., this brilliant South African artist will steampunk, Rube Goldberg–style percussion. know our allocation of breaths.” handmade woodcuts, opera, animation, and dance. grace the Geary stage. I hope the piece will attract not only theatergoers, but visual arts lovers and all those who relish The Johannesburg-based artist made his reputation with From the Old World to the new, Refuse the Hour has “Ever since I saw William Kentridge’s astonishing retrospective artistic risk-taking.” charcoal-based artworks that tackle social justice, apartheid, astonished not only gallery-goers but audiences from across at the San Francisco Museum of Modern Art in 2009,” says and good versus evil. Here the artist takes aim at an even the arts. With its medley of media, from dance to drumming, A.C.T. Artistic Director Carey Perloff, “I’ve been avidly To reserve tickets and to learn more, visit act-sf.org/hour more elusive subject: time. Fortified by the ideas and intellect video projection to vocals, Refuse the Hour is less a story than

26 ACT-SF.ORG 415.749.2228 27 Refuse the Hour plays a limited

PHOTOS BY JOHN HODGKISS BY PHOTOS engagement of just three performances at The Geary Theater, November 10–11.

Performers in Dancer and choreographer Dada Artist William Kentridge Refuse the Hour. Masilo performs in Refuse the Hour. in Refuse the Hour.

an event—complex, dazzling, and anarchic. A.C.T. audiences studying his work and attending his performances. When the will recognize the theatrical DNA behind Kentridge’s creative opportunity arose to present the exquisite Refuse the Hour, I chaos. Before finding global success in the fine arts, the leapt at it. Kentridge’s vast imagination, deep humanity, and innovative South African artist trained as an actor at L’École relentlessly curious mind have made him one of the seminal Internationale de Théâtre Jacques Lecoq in Paris. Here he artists in the world today. It is thrilling to me that in my returns to his theater roots, allying wondrous set design with final season at A.C.T., this brilliant South African artist will handmade woodcuts, opera, animation, and dance. grace the Geary stage. I hope the piece will attract not only theatergoers, but visual arts lovers and all those who relish “Ever since I saw William Kentridge’s astonishing retrospective artistic risk-taking.” at the San Francisco Museum of Modern Art in 2009,” says A.C.T. Artistic Director Carey Perloff, “I’ve been avidly To reserve tickets and to learn more, visit act-sf.org/hour

415.749.2228 27 INSIDE A.C.T.

Theater makers often say it takes a village, but producing Black Butterflies, this year’s Collaborative Youth Arts Project (CYAP), took the entire Bay Area. Like Snakes (2015) and Top BUILDING of the Pyramid (2016), Black Butterflies brought together talented young actors from A.C.T.’s Education & Community Programs, the Young Conservatory, and Destiny Arts Center in Oakland. This year, however, A.C.T. embraced CYAP’s BRIDGES collaborative spirit on an even larger scale, partnering with A.C.T. UNITES YOUNG BAY AREA community organizations from both sides of the Bay to help tell the story of young girls of color trapped by a stifling web ACTORS AND COMMUNITY PARTNERS of educational neglect, calcified courts, and an overwhelmed BY TAYLOR STEINBECK incarceration system.

LEFT TO RIGHT Tyla Cann, Tiana Bishop, and Citlali Perez, three members of the cast of Black Butterflies (2017) at The Strand Theater. Photos by Sara Morales.

28 ACT-SF.ORG PHOTO BY JAY YAMADA JAY BY PHOTO

LEFT Amanda Morrow in Black Butterflies.

CYAP is designed to make theater accessible to young actors work,” says Brodersen. “They were collaborators right along of all backgrounds and to provide a theatrical platform for the with the adults.” too-often untold stories of young people from marginalized communities. Through the Young Conservatory’s distinguished This year’s CYAP also broke new ground in expanding the New Plays Program, A.C.T. has a long history of commissioning scale of community engagement surrounding the production. internationally recognized playwrights to create work Director Lauren Spencer, a Bay Area theater artist and for young people, giving students an important role in educator with strong ties to the social justice community, developing new works for the theater. CYAP was established reached out to several organizations that have long been to extend that experience to students from our more recently dedicated to working with system-involved girls and their established Education & Community Programs and our families and shared their expertise with the CYAP cast and longtime community partner Destiny Arts, an acclaimed audiences. Representatives of the Young Women’s Freedom youth program founded more than two decades ago to Center in San Francisco, Each One Reach One, Free Me Fast, inspire and ignite social change through the arts. This year’s Youth Speaks’s Arresting Life project, and the Oakland-based cast also included young actors who commuted to rehearsals Mentoring Center’s EMERGE program attended rehearsals, and performances from as far afield as Palo Alto, Richmond, participated in read-throughs, and appeared in postshow and Antioch. panel discussions, helping to support the actors’ development process, raise awareness, and provide a call to action to “CYAP grew out of the desire of young people in multiple improve educational conditions and mental health care for programs to have more performance opportunities, and to system-involved girls in the Bay Area. Additionally, two young tell stories specific to their communities,” says Elizabeth poets from Youth Speaks attended rehearsals and created Brodersen, A.C.T. Director of Education & Community spoken-word pieces based on the play’s themes, which they Programs. “This is more than theater for young audiences. performed on opening night, and a teen artist from the Boys & This is the world seen through the eyes of young people, Girls Club created designs that inspired the show’s poster and performed by young people, who have a wealth of experience were displayed in the lobby of the theater. that they can bring to the creative process.” Black Butterflies, which played to sold-out houses at both The Written by award-winning, Kansas City–based playwright Strand and Destiny Arts Center, has had a profound impact on Darren Canady, Black Butterflies was the first CYAP A.C.T. and the artists (of all ages) involved. As CYAP continues commission to be included in the New Strands Festival, an to evolve, we look forward to building ever stronger bridges to annual week-long series of workshops and presentations of the Bay Area’s many diverse communities and helping young new work at A.C.T.’s Strand Theater. The young actors of Black people to tell the stories that most need to be told. Butterflies had the opportunity to rub shoulders as fellow artists with M.F.A. Program actors as well as professional For more information about A.C.T.’s Education & playwrights, composers, and directors. “The students were Community Programs, visit act-sf.org/education. welcomed into the larger community of artists creating new

415.749.2228 29 FRANNIE FLEISHHACKER, CO-CHAIR • ROBINA RICCITIELLO, CO-CHAIR We are privileged to recognize Producers Circle members’ generosity during the September 1, 2016, to September 1, 2017, period. For information about Producers Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event supporter

SEASON PRESENTERS

FRANNIE FLEISHHACKER FRED M. LEVIN AND TONI REMBE AND JEFF AND LAURIE UBBEN has supported A.C.T. for more than 21 NANCY LIVINGSTON* ARTHUR ROCK Jeff is a founder of ValueAct Capital years. She has chaired season galas and Nancy is the immediate past chair of Past chair of A.C.T.’s Board of Trustees, and a director of 21st Century Fox serves on A.C.T.’s Board of Trustees and A.C.T.’s Board of Trustees. She serves Toni is a retired partner at Pillsbury Inc. and Willis Towers Watson several committees. She funded the on the boards at the College of Fine Winthrop Shaw Pittman. Arthur was one PLC. He serves on the boards of Duke Mort Fleishhacker M.F.A. Scholarship Arts at Boston University and the of America’s first venture capitalists. University, Northwestern University, and multiple capital campaigns. She National Council for the American Along with other community endeavors, and the E. O. Wilson Biodiversity has held board positions at the SF Theatre. Fred serves on the boards they are cofounders of the Arthur and Foundation. Laurie founded San Junior League and the Francisca Club. of the SF Symphony, the Asian Art Toni Rembe Rock Center for Corporate Francisco’s Bird School of Music. Museum, and the SF Film Society. Governance at Stanford Law School. PRISCILLA AND KEITH GEESLIN Priscilla is a vice chair of A.C.T.’s BURT AND DEEDEE MCMURTRY* MARY AND STEVEN SWIG Board of Trustees and chairs the Deedee is on A.C.T.’s Emeritus Advisory Steven has served on A.C.T.’s board Development Committee. She serves Board. She serves on the art committee since 1986 and is cofounder of Presidio on the boards of SF General Hospital for Lucile Packard Children’s Hospital Graduate School. Mary is on the Foundation, the SF Symphony, Grace and the arts advisory and director’s Women’s Leadership Board of Harvard Cathedral, and NARAL Pro-Choice advisory boards for Stanford Cantor Art University’s John F. Kennedy School of America. A principal of Francisco Center. Burt has served on the boards Government. They serve on the boards Partners, Keith is the president of of Stanford University, Rice University, of the Solar Electric Light Fund and SF Opera’s board of trustees. and Carnegie Institution for Science. the Americans for Cures Foundation.

COMPANY SPONSORS EXECUTIVE PRODUCERS Aaron Vermut and Clay Foundation - West Jerome L. and Thao N. Dodson Lesley Ann Clement and Adriana Lopez Vermut Donald J. and Toni Ratner Miller* Ray and Dagmar Dolby Family Fund Karl Lukaszewicz Barbara and Stephan Vermut Tim Mott and Pegan Brooke Jeri Lynn and Jeffrey W. Johnson* Bill and Phyllis Draper Nola Yee* Rich Rava and Elisa Neipp Barbara Ravizza and John S. Osterweis Sarah and Tony Earley LeRoy Ortopan Patti and Rusty Rueff Sakana Foundation PRODUCERS Elsa and Neil Pering Jack and Susy Wadsworth Kevin and Celeste Ford Paul Asente and Ron Jenks Mr. and Mrs. Tom Perkins* Barry Williams and Lalita Tademy* Mr. and Mrs. Gordon P. Getty Lloyd and Janet Cluff Merrill Randol Sherwin Kay Yun and Andre Neumann-Loreck* Jo S. Hurley* Daniel E. Cohn and Lynn Brinton David and Carla Riemer* Christopher and Leslie Johnson Carlotta and Robert Dathe* Sally and Toby Rosenblatt* John Little and Heather Stallings Little Concepción and Irwin Federman Dr. Caroline Emmett and Janet V. Lustgarten Linda Jo Fitz* Dr. Russell Rydel Nion McEvoy and Leslie Berriman Rose Hagan and Mark Lemley Kathleen Scutchfield Kenneth and Gisele Miller Kirke and Nancy Sawyer Hasson* Anne and Michelle Shonk* Robina Riccitiello Dianne and Ron Hoge* Cherie Sorokin Abby and Gene Schnair* Luba Kipnis and David Russel* Mr. David G. Steele Mr. and Mrs. Charles R. Schwab Rodman and Ann Marymor Doug Tilden Valli Benesch and Bob Tandler Don and Judy McCubbin Susan A. Van Wagner Mr. and Mrs. J. A. McQuown Mary and Gene Metz

DIANNE HOGE, CO-CHAIR • NOLA YEE, CO-CHAIR

We are privileged to recognize these members’ generosity during the September 1, 2016, to September 1, 2017, period. For information about Directors Circle membership, please contact Tiffany Redmon at 415.439.2482 or [email protected].

*An Evening at Elsinore event supporter

ASSOCIATE PRODUCERS James and Julia Davidson Myrna and Tom Frankel Mr. Brian Kliment Paul Angelo Joan Dea Mr. and Mrs. Thomas A. Gallagher Mr. Joel Krauska and Ms. Patricia Fox Mrs. Barbara Bakar Carol Dollinger Dr. and Mrs. Richard E. Geist Paola and Richard Kulp Kathleen Bennett and Tom Malloy Mr. Joseph W. Donner, III Arnie and Shelly Glassberg* Linda Kurtz* Kenneth Berryman The New Ark Fund Dr. Allan P. Gold and Mr. Alan C. Ferrara Jennifer Langan Dr. Barbara L. Bessey Barb and Gary Erickson Marcia and John Goldman Marcia and Jim Levy Ben and Noel Bouck Nancy and Jerry Falk Marcia and Geoffrey Green Jennifer S. Lindsay Linda Joanne Brown Mr. Rodney Ferguson and Betty Hoener Helen M. Marcus* Gayle and Steve Brugler Ms. Kathleen Egan Chris and Holly Hollenbeck Drs. Michael and Jane Marmor Mr. and Mrs. David Crane Vicki and David Fleishhacker Alan and Cricket Jones Christine and Stan Mattison

30 ACT-SF.ORG Mr. and Mrs. Robert McGrath Gary Rubenstein and Nancy Matthews Ms. Margaret J. Grover Ms. Monica Salusky and Mr. Byron R. Meyer Scott and Janis Sachtjen Naren and Vinita Gupta Mr. John Sutherland Milton Mosk and Thomas Foutch Kent and Nancy Clancy James Haire and Timothy Cole Betty and Jack Schafer Paula and John Murphy Thomas Schumacher Mr. and Mrs. Richard Halliday Ms. Jean Schulz Terry and Jan Opdendyk The Somekh Family Foundation Vera and David Hartford Russ Selinger Norman and Janet Pease Mr. Richard Spaete Mr. and Mrs. David M. Hartley Mr. and Mrs. John Shankel Marjorie Perloff Diana L. Starcher Mr. Greg Hartman Mr. James Shay and Mr. Steven Correll Ms. Carey Perloff and Mr. Anthony Giles Roselyne C. Swig Ms. Kendra Hartnett and Robert Santilli Mr. Earl G. Singer Ms. Saga Perry and Mr. Frederick Perry Pasha and Laney Thornton Stephen and Diane Heiman* Raven Sisco Jon and Barbara Phillips Larry Vales Mrs. Deirdre Henderson Richard and Jerry Smallwood Lisa Pritzker Jane and Bernard von Bothmer Mr. and Mrs. Jerre Hitz Ms. Judith O. Smith John Riccitiello Joy and Ellis Wallenberg, Ms. Marcia Hooper Mr. and Mrs. Edward H. Snow Dr. James Robinson and Milton Meyer Foundation Rob Hulteng Kristine Soorian and Bryce Ikeda Ms. Kathy Kohrman Louise Wattrus Robert Humphrey & Diane Amend Mr. and Mrs. Robert S. Spears Matt and Yvonne Rogers Ms. Allie Weissman Judy and Bob Huret Steven and Chris Spencer Susan Roos Barbara and Chris Westover Robert and Riki Intner Mr. Paul Spiegel Lori Halverson Schryer Dr. and Mrs. Andrew Wiesenthal Harold and Lyn Isbell Lillis and Max Stern Paul and Julie Seipp Carlie Wilmans Franklin Jackson & Maloos Anvarian Rick Stern and Nancy Ginsburg Stern Rick and Cindy Simons Diane B. Wilsey Stephanie and Owen Jensen Vibeke Strand, MD and Jack Loftis, PhD Lee and Carolyn Snowberg Mr. and Mrs. Roger Wu Russell and Mary Johnson Richard and Michele Stratton Mr. Laurence L. Spitters Barbara and Ron Kaufman Mr. Jay Streets Emmett and Marion Stanton DIRECTORS Sy Kaufman Mr. M. H. Suelzle Vera and Harold Stein Anonymous (2) Ms. Pamela L. Kershner Susan Terris Dr. Martin and Elizabeth Terplan Martha and Michael Adler Miss Angèle Khachadour Dr. Eric Test and Dr. Odelia Braun John and Sandra Thompson Bruce and Betty Alberts Ms. Nancy L. Kittle Nancy Thompson and Andy Kerr Patrick S. Thompson* Lynn Altshuler and Stanley D. Herzstein Mr. R. Samuel Klatchko Ian and Olga Thomson Mr. and Mrs. Bruce White Mr. and Mrs. Harold P. Anderson Harold L. Wyman Foundation Mrs. Helena Troy Wasp Sharon L. Anderson Stephanie Hencir Lamey and John R. Upton Jr. and BENEFACTORS Ms. Kay Auciello Patrick Lamey Janet Sassoon-Upton Rick and Anne Riley Jeanne and William Barulich Thomas and Barbara Lasinski Arnie and Gail Wagner Beverly and Loring Wyllie Bonnie Frank and Michele Bear Harriet Lawrie Mr. and Mrs. James Wagstaffe Nancy and Joachim Bechtle Mr. Richard Lee and Mrs. Katherine G. Wallin and PLAYWRIGHTS David V. Beery and Norman Abramson* Ms. Patricia Taylor Lee Mr. Homer Wallin Ray and Jackie Apple Jane Bernstein and Robert Ellis Ms. Pamela D Lee Ms. Margaret Warton and Mr. Eugene Barcone Fred and Nancy Bjork Dr. Lois Levine Mundie Mr. Steve Benting Sara and Wm. Anderson Barnes Fund* David and Rosalind Bloom Mr. Michael Levy and Ms. Carol Watts The Tournesol Project Larry and Lisbeth Blum Mr. Michael Golden Ms. Patricia Tomlinson and Donna L. Beres and Terry Dahl John Boland and James Carroll Ms. Helen S. Lewis Mr. Bennet Weintraub Roger and Helen Bohl Mr. Mitchell Bolen and Sue Yung Li and Dale K. Ikeda Irv Weissman and Family Ms. Donna Bohling and Mr. John Christner Ron and Mary Loar Ms. Beth Weissman Mr. Douglas Kalish Christopher and Debora Booth Ms. Evelyn Lockton Marie and Daniel Welch Mr. Mark Casagranda Brenda and Roger Borovoy Ms. Gayla Lorthridge Kenneth and Sharon Wilson Madeline and Myrkle Deaton Romana D. Bracco Dr. Thane Kreiner and Mr. David S. Wood and Richard DeNatale and Craig Latker Nicholas and Janice Brathwaite Dr. Steven Lovejoy Ms. Kathleen Garrison Michael G. Dovey Benjamin Bratt and Talisa Soto Richard N. Hill and Nancy Lundeen Mr. and Mrs. Roy B. Woolsey Emerald Gate Charitable Trust Jean L. Brenner Stephanie and Jim Marver The Arthur and Charlotte Zitrin Philip and Judy Erdberg Tom and Carol Burkhart Ms. Jill Matichak Handelsman Foundation Jacqueline and Christian Erdman Mrs. Libi Cape John B. McCallister Sue and Ed Fish Ms. Sally Carlson and Mr. Karl Keesling John G. McGehee Mr. and Mrs. Patrick F. Flannery Denis Carrade and Jeanne Fadelli Kathleen McIlwain Dr. and Mrs. Fred N. Fritsch Steven and Karin Chase Casey and Charlie McKibben Mrs. Susan Fuller Susan and Ralph G. Coan, Jr. Elisabeth and Daniel McKinnon Sameer Gandhi and Monica Lopez Rebecca Coleman Sue and Ken Merrill Marilee K. Gardner Mr. and Mrs. Ricky J. Curotto Ms. Nancy Michel Glasser Family Fund Tiffanie DeBartolo and Scott Schumaker Mr. and Mrs. Roger Miles Dr. A. Goldschlager Robert and Judith DeFranco J. Sanford Miller and Vinie Zhang Miller Barbara Grasseschi and Tony Crabb Ingrid M. Deiwiks Mr. and Mrs. Merrill E. Newman Mark and Renee Greenstein Reid and Peggy Dennis Ms. Mary D. Niemiller Mr. Bill Gregory William Dewey Mrs. Margaret O’Drain Kaatri and Doug Grigg Mrs. Julie D. Dickson Emilie and Douglas Ogden Mr. and Mrs. Henry Paul Hensley Art and JoAnne Dlott Margo and Roy Ogus Bannus & Cecily Hudson Bonnie and Rick Dlott Ms. Barbara Oleksiw Amanda and John Kirkwood Anne and Gerald Down Meredith Orthwein Patrick Machado Ms. Kathleen Dumas Janet and Clyde Ostler Melanie and Peter Maier — Robert Eklund Janine Paver and Eric Brown John Brockway Huntington Charles and Susan Fadley Mark Pigott Foundation Mr. Alexander L. Fetter and Kenneth Preston Mr. Daniel Murphy Ms. Lynn Bunim Gordon Radley Barbara O’Connor Mr. Robert Feyer and Sandi and Mark Randall Mr. Don O’Neal Ms. Marsha Cohen* Mr. and Mrs. Jacob Ratinoff Denise Orwin Jacques Fortier Albert and Roxanne Richards Fund Peter Pastreich and Jamie Whittington Lynda Fu Victoria and Daniel Rivas Mr. Adam Pederson Ms. Kathleen Gallivan Mrs. Marianne B. Robison Mr. and Mrs. William Pitcher William Garland and Michael Mooney Barbara G. Rosenblum Joseph E. and Julie Ratner* Mr. Michael R. Genesereth Susan Rosin and Brian Bock Mr. and Mrs. John A. Reitan Susan and Dennis Gilardi Marieke Rothschild Jeff and Karen Richardson Ms. Ann M. Griffiths Ms. Irene Rothschild Gary and Joyce Rifkind Raymond and Gale L. Grinsell Ms. Dace Rutland

415.749.2228 31 ALAN JONES, CHAIR We are privileged to recognize Friends of A.C.T. members’ generosity during the September 1, 2016, to September 1, 2017, period. Space limitations prevent us from listing all those who have generously supported the Annual Fund. For information about Friends of A.C.T. membership, please contact Sarah Armstrong at 415.439.2353 or sarmstrong@ act-sf.org.

PATRONS SUSTAINERS Mrs. Judith T. Leahy Mr. Robert Weston Anonymous (2) Anonymous (4) Mrs. Gary Letson Tim M. Whalen Mr. Howard J. Adams Mr. Paul Anderson Barry and Ellen Levine Marilyn and Irvin Yalom Mr. Michael Bassi and Ms. Christy Styer Ms. Patricia Wilde Anderson Kathleen Anderson and Jeff Lipkin Elysa Yanowitz Dorothy and Ervin Behrin Rebecca and David Ayer Ms. Linda Lonay Jacqueline L. Young Mr. Thomas Benet Dick Barker Timothy Lucas Mr. and Mrs. Philip Zimbardo Lauren Berman Mr. David N. Barnard Christiana and Sandy Macfarlane Peter Blume Mr. William Barnard Mr. and Mrs. William Manheim Mr. Byde Clawson and Ms. Pamela Barnes Alan Markle Dr. Patricia Conolly Robert H. Beadle Mr. and Mrs. Kenneth Marks Ms. Linda R. Clem Mr. Daniel R. Bedford Robert McCleskey Paul and Deborah Cleveland Mr. Ari Benbasat Karin and Gregory McClune Jean and Mike Couch David and Michele Benjamin Karen and John McGuinn Ms. Karen T. Crommie Mr. and Mrs. Paul Berg Dr. Margaret R. McLean Mr. Copley E. Crosby Ms. Joyce Avery and Mr. Brian A. Berg Trudy and Gary Moore Gregory Davis Richard and Katherine Berman Michael Morgan Ira and Jerry Dearing Stuart and Helen Bessler Sharon and Jeffrey Morris Mr. Timothy C. Duran Mr. Igor R. Blake Mr. Ronald Morrison Michael Kalkstein and Susan English Mr. John Blankenship and Dorotea C. Nathan Leif and Sharon Erickson Ms. Linda Carter Jane and Bill Neilson Mr. and Mrs. Richard Fowler Mr. Noel Blos Jeanne Newman Elizabeth and Paul Fraley Carol M. Bowen and Nancy and Bill Newmeyer Ms. Susan Free Christopher R. Bowen Ms. Nancy F. Noe Alan and Susan Fritz Mr. Roland E. Brandel Ms. Joanna Officier and Mr. Ralph Tiegel Kathy Hart Martin and Geri Brownstein Pamela Orloff Mr. John F. Heil Mr. and Mrs. Bernard Butcher Mr. James O’Toole Leni and Doug Herst Jaime Caban and Rob Mitchell Barbara Paschke and James and Helen Hobbs Glenn Chapman David Volpendesta Dr. and Mrs. John E. Jansheski Ms. Shirley Cookston Mr. David J. Pasta Ms. Carolyn Jayne James Cuthbertson Richard and Donna Perkins Louise Karr Yogen and Peggy Dalal Ms. M. N. Plant Jeffrey and Loretta Kaskey Jill and Stephen Davis Mr. and Mrs. Mark O. Rand Ed and Peggy Kavounas Ms. Roberta Denning Ms. Danielle Rebischung George and Janet King Kelly and Olive DePonte Maryalice Reinmuller Hal and Leslie Kruth Richard and Sheryl Donaldson Mr. and Mrs. Charles Rino Eileen Landauer and Mark Michael Ms. Joanne Dunn Ms. Allison Rock and Julia Lobel Mr. and Mrs. John L. Elman Mr. Christopher Wuthmann Mr. and Mrs. Robert W. Logan Marilynne Elverson Mr. and Mrs. Richard Rogers Mr. and Mrs. Alexander Long Mr. Robert G. Evans Marguerite Romanello Jeff and Susanne Lyons Ms. Angela Sowa and Dan Rosenbaum and Suzanne L. Klein Jeffrey and Elizabeth Minick Dr. Dennis B. Facchino Mr. L. Kyle Rowley Mr. E. Craig Moody Mr. James Feuille and Ms. Diane Rudden Thomas and Lydia Moran Ms. Nancy J. Murray Paul Sack John and Betsy Munz M. Daniel and Carla Flamm Louise Adler Sampson Joseph C. Najpaver and Deana Logan Mrs. Dorothy A. Flanagan Sonja Schmid Cindy Nicola Mr. Gregory Fung Ms. Karin Scholz-Grace Ms. Lisa Nolan Karen and Stuart Gansky Mr. James J. Scillian Ms. Susan O’Brien Mr. John Garfinkle Mr. Jim Sciuto Ann Paras Frederick and Leslie Gaylord Ms. Karen Scussel and Mr. Curt Riffle Robert and Marcia Popper David and Marcia Glassel Mr. Robert J. Sehr Caitlin A. Quinn and Peter C. Garenani Kathleen and Paul Goldman Dr. Elliot and Mrs. Kathy Shubin Ms. Diane Raile Dr. James and Suzette Hessler Ms. Patricia Sims Helen Hilton Raiser Mr. Kim Harris and Bennet Marks Mr. Mark Small Mr. Orrin W. Robinson, III David Hawkanson Bert and LeAnne Steinberg Barbara and Saul Rockman Ms. Dixie Hersh Jeffrey Stern, M.D. Ms. Mary Ellen Rossi Ms. Sandra Hess Mr. and Mrs. Monroe Strickberger Peter and Janice Scattini Edward L. Howes, MD Mr. Jason Surles Mr. Paul Schmidt Richard and Cheryl Jacobs Marvin Tanigawa David Schnur Anne and Ed Jamieson Maggie Thompson Andrew and Marva Seidl Allan and Rebecca Jergesen Robert Tufts Ms. Ruth A. Short Mr. and Mrs. Norman L. Johnson Ms. Leslie Tyler Dr. Gary Stein and Jana Stein Mrs. Zeeva Kardos Leon Van Steen Ms. Jacqueline Stewart Jascha Kaykas-Wolff Mr. and Mrs. Ronald G. VandenBerghe Ian E. Stockdale and Ruth Leibig Michael Kim Marsha Veit Dr. and Mrs. G. Cook Story Karla Kirkegaard Mr. Douglass J. Warner Melissa and Jonathan Weinberg Mr. and Mrs. Kevin Klotter Ms. Meredith J. Watts Mr. Keith Wetmore Ms. Hamila Kownacki Ms. Rosemary Welde Christina Yu Edward and Miriam Landesman Mr. Richard West

32 ACT-SF.ORG JO S. HURLEY, CHAIR A.C.T. gratefully acknowledges the Prospero Society members listed below, who have made an investment in the future of A.C.T. by providing for the theater in their estate plans.

**Deceased

Providing a Legacy for A.C.T.

GIFTS DESIGNATED TO Michele Garside Burt and Deedee McMurtry GIFTS RECEIVED BY AMERICAN CONSERVATORY Dr. Allan P. Gold and Dr. Mary S. and F. Eugene Metz AMERICAN CONSERVATORY THEATER Mr. Alan C. Ferrara J. Sanford Miller and THEATER Anonymous (8) Arnold and Nina Goldschlager Vinie Zhang Miller The Estate of Barbara Beard Anthony J. Alfidi Carol Goodman and Anthony Gane Milton Mosk and Tom Foutch The Estate of John Bissinger Judith and David Anderson JeNeal Granieri and Bill** and Pennie Needham The Estate of Ronald Casassa Kay Auciello Alfred F. McDonnell Walter A. Nelson-Rees and The Estate of Rosemary Cozzo Ms. Nancy Axelrod William Gregory James Coran The Estate of Nancy Croley M. L. Baird, in memory of James Haire and Timothy Cole Michael Peter Nguyen The Estate of Leonie Darwin Travis and Marion Baird Richard and Lois Halliday Dante Noto The Estate of Mary Jane Detwiler Therese L. Baker-Degler Terilyn Hanko Sheldeen Osborne The Estate of Olga Diora Ms. Teveia Rose Barnes and Mr. Richard H. Harding Elsa and Neil Pering The Estate of Mortimer Fleishhacker Mr. Alan Sankin Kent Harvey Marcia and Robert Popper The Estate of Mary Gamburg Eugene Barcone Betty Hoener Kellie Yvonne Raines The Estate of Phillip E. Goddard Robert H. Beadle R. W. and T. M. Horrigan Anne and Bertram Raphael The Estate of Mrs. Lester G. Hamilton Susan B. Beer Jo S. Hurley Jacob and Maria Elena Ratinoff The Estate of Sue Hamister David Beery and Norman Abramson Barry Lee Johnson Mary L. Renner The Estate of Howard R. Hollinger J. Michael and Leon Berry-Lawhorn Paul and Carol Kameny Ellen Richard The Estate of William S. Howe, Jr. Dr. Barbara L. Bessey and Dr. and Mrs. Stewart Karlinsky Jillian C. Robinson The Estate of Thomas H. Maryanski Dr. Kevin J. Gilmartin** Nelda Kilguss Susan Roos The Estate of Michael L. Mellor Lucia Brandon Ms. Heather M. Kitchen Andrea Rouah The Estate of Bruce Tyson Mitchell Mr. Arthur H. Bredenbeck and Mr. Jonathan Kitchen and David Rovno, MD The Estate of Gail Oakley Mr. Michael Kilpatrick Ms. Nina Hatvany Paul and Renae Sandberg The Estate of Dennis Edward Parker Linda K. Brewer John and Karen Kopac Reis Harold Segelstad The Estate of Rose Penn Martin and Geraldine Brownstein Catherine Kuss and Danilo Purlia F. Stanley Seifried The Estate of Shepard P. Pollack Gayle and Steve Brugler Mr. Patrick Lamey Ruth Short The Estate of Margaret Purvine Bruce Carlton and Richard McCall** Philip C. Lang Dr. Eliot and Mrs. Kathy Shubin The Estate of Gerald B. Rosenstein Florence Cepeda and Earl Frick Mindy Lechman Andrew Smith and Brian Savard The Estate of Charles Sassoon Paula Champagne and David Watson Marcia Lowell Leonhardt Cherie Sorokin The Estate of Olivia Thebus Mr. and Mrs. Steven B. Chase Marcia and Jim Levy Alan L. and Ruth Stein The Estate of Ayn and Brian Thorne Lesley Ann Clement Ines R. Lewandowitz Mr. and Mrs. Bert Steinberg The Estate of Sylvia Coe Tolk Lloyd and Janet Cluff Jennifer Lindsay Jane and Jay Taber The Estate of Elizabeth Wallace Patricia Corrigan Nancy Livingston and Fred M. Levin Mr. Marvin Tanigawa The Estate of Frances Webb Susan and Jack Cortis Dot Lofstrom and Robin C. Johnson Martin Tannenbaum and Alex Ingersoll The Estate of William Zoller Ms. Joan Danforth Ms. Paulette Long Nancy Thompson and Andy Kerr Richard T. Davis-Lowell Dr. Steve Lovejoy and Michael E. Tully Sharon Dickson Dr. Thane Kreiner Ms. Nadine Walas Jerome L. and Thao N. Dodson Jim and Anne Magill Marla Meridoyne Walcott Drs. Peter and Ludmila Eggleton Melanie and Peter Maier Katherine G. Wallin Linda Jo Fitz Jasmine Stirling Malaga and David Weber and Ruth Goldstine Frannie Fleishhacker Michael William Malaga Paul D. Weintraub and Kevin and Celeste Ford Mr. Jeffrey Malloy Raymond J. Szczesny Mr. and Mrs. Richard L. Fowler Michael and Sharon Marron Beth Weissman Alan and Susan Fritz Mr. John B. McCallister Tim M. Whalen Marilee K. Gardner John McGehee Mr. Barry Lawson Williams

FOR MORE INFORMATION ABOUT PROSPERO SOCIETY MEMBERSHIP

HELEN RIGBY, DIRECTOR OF LEGACY GIVING 415.439.2469 | [email protected]

415.749.2228 33 Memorial & Tribute Gifts

The following members of the A.C.T. community made gifts in memory and in honor of friends, colleagues, and family members of $100 or more during the September 1, 2016, to September 1, 2017, period.

Mr. and Mrs. David M. Hartley In Honor of Linda Fitz Ms. Jamie Ney In Memory of Ann Adams Karen Blodgett In Honor of Linda Jo Fitz and her service to A.C.T. Anonymous In Memory of Ruth Asawa Mr. Robert G. Evans In Honor of Linda Fitz Jane Shurtleff In Memory of John Chapot Jacqueline L. Young In Honor of Linda Fitz Ms. Kathleen Gallivan In Memory of Jack Gallivan Sandi and Mark Randall In Honor of Frannie Fleischhacker Mr. David J. Pasta In Memory of Gloria Guth Sakana Foundation In Honor of Priscilla Geeslin Susan Stevenson In Memory of Meribeth Meacham Mary Cathryn Houston In Honor of Arnie Glassberg Richard and Victoria Larson In Memory of Dennis Powers Vicki and Stephen Hoffman In Honor of Skylar Goldberg Ms. Peggy Kivel In Memory of Eva Ramos Robert and Riki Intner In Honor of Ruth Keith Ms. Joy Eaton In Memory of Todd Wees Elizabeth Mason In Honor of Luba Kipnis Laurie Hernandez In Honor of Alan Littlehales Anne and Ed Jamieson In Honor of Nancy Livingston Daniel E. Cohn and Lynn Brinton In Honor of Nancy Livingston Ms. Carey Perloff and Mr. Anthony Giles In Honor of Nancy Livingston Helen Hilton Raiser In Honor of Nancy Livingston Anat Pilovsky In Honor of Janet Lustgarten Katherine E. Akos and Harry L. Jacobs In Honor of Peter Pastreich, Tiffany Redmon, and Nancy Mims Roselyne C. Swig In Honor of Carey Perloff Susan Medak and Gregory S. Murphy In Honor of Ellen Richard Sue and Ken Merrill In Honor of Patti and Rusty Rueff Cheryl Brandon In Honor of Craig Slaight Jon and Betsy Nakamura In Honor of Craig Slaight Helene Roos In Honor of Craig Slaight Julia and Vladimir Zagatsky In Honor of Gideon and Cheryl Sorokin

Corporate Partners Circle

The Corporate Partners Circle comprises businesses that support the artistic mission of A.C.T., including A.C.T.’s investment in the next generation of theater artists and audiences, and its vibrant educational and community outreach programs. Corporate Partners Circle members receive extraordinary entertainment and networking opportunities, unique access to renowned actors and artists, premium complimentary tickets, and targeted brand recognition. For information about how to become a Corporate Partner, please contact Bethany Herron at 415.439.2434 or [email protected].

LEAD EDUCATION PRESENTING PARTNERS PERFORMANCE STAGE PARTNERS OFFICIAL HOTEL 50TH ANNIVERSARY SPONSOR ($25,000–$49,999) PARTNERS ($5,000–$9,999) SPONSOR AIRLINE SPONSOR Bank of America Foundation ($10,000–$24,999) Burr Pilger Mayer, Inc. Hotel G United Airlines City National Bank BNY Mellon Wealth S&P Global Theatre Forward Management Schoenberg Family U.S. Bank/Ascent Bank of the West Law Group Deloitte LLP Farella Braun + Martel SEASON SPONSOR Perkins Coie LLP Mozilla Pillsbury Winthrop Shaw Pittman LLP

Foundations and Government Agencies

The following foundations and government agencies provide vital support for A.C.T. For more information, please contact Bethany Herron at 415.439.2434 or [email protected].

$100,000 AND ABOVE $50,000–$99,999 $25,000–$49,999 $10,000–$24,999 $5,000–$9,999 Doris Duke Charitable Department of Children, Anonymous The Kenneth Rainin Davis/Dauray Family Fund Foundation Youth & Their Families Walter and Elise Haas Fund Foundation Edna M. Reichmuth San Francisco Grants The Edgerton Foundation The Kimball Foundation Laird Norton Family Educational Fund of for the Arts National Endowment for The Harold and Mimi Foundation The San Francisco The William and Flora the Arts Steinberg Trust The Sato Foundation Foundation Hewlett Foundation The Bernard Osher MAP Fund The Stanley S. Langendorf Jewels of Charity, Inc. Foundation Saint Francis Foundation Foundation San Francisco’s Office of Wallis Foundation Economic and Workforce The Zellerbach Family Development Foundation The Virginia B. Toulmin Foundation

34 ACT-SF.ORG Theatre Forward Current Funders List as of January 2017

Theatre Forward advances American theater and its communities by providing funding and other resources to the country’s leading nonprofit theaters. Theatre Forward and its theaters are most grateful to the following funders:

THEATRE EXECUTIVES PACESETTERS DONORS Kevin & Anne Driscoll *Theatre Forward Fund for ($50,000+) ($15,000–$24,999) ($10,000–$14,999) John R. Dutt*▴ New American Theatre AT&T▴ American Express* Paula A. Dominick*▴ Bruce R. and Tracey Ewing*▴ †Includes in-kind support ▴ Bank of America* Bloomberg Dorsey & Whitney Foundation Jessica Farr* ▴Educating through Theatre Support James S. & Lynne Turley*▴ Cisco Systems, Inc.* Epiq Systems* Mason & Kim Granger*▴ The Schloss Family The Estée Lauder Karen A. & Kevin W. Kennedy Brian J. Harkins*▴ Theatre Forward supporters are former Foundation▴ Companies Inc. Foundation Gregory S. Hurst*▴ supporters of National Corporate Theatre Fund and Impact Creativity. ▴ Howard and Janet Kagan▴ EY* Lisa Orberg For a complete list of funders, visit ▴ BENEFACTORS Alan & Jennifer Freedman*▴ Presidio* Joseph F. Kirk* theatreforward.org. ($25,000–$49,999) Frank & Bonnie Orlowski*▴ Thomas C. Quick* Mary Kitchen and Jon Orszag Buford Alexander and Marsh & McLennan RBC Wealth Management▴ Anthony and Diane Lembke, Pamela Farr*▴ Companies, Inc. Daniel A. Simkowitz*▴ in honor of Brian J Harkins, BNY Mellon National Endowment for S&P Global board member Steven & Joy Bunson*▴ the Arts▴ TD Charitable Foundation▴ John R. Mathena*▴ Citi Pfizer, Inc. Isabelle Winkles*▴ Jonathan Maurer and DeWitt Stern* Southwest Airlines▴† Gretchen Shugart*▴ Goldman, Sachs & Co. Theatermania/Gretchen SUPPORTERS Dina Merrill & Ted Hartley* MetLife Shugart*▴ ($2,500–$9,999) Newmark Holdings* Morgan Stanley George S. Smith, Jr.*▴ Mitchell J. Auslander*▴ Sills Cummis & Gross P.C.* Wells Fargo*▴ UBS Sue Ann Collins John Thomopoulos*▴ Willkie Farr & Gallagher LLP* Disney/ABC Television Group* Evelyn Mack Truitt* Dorfman and Kaish Family Leslie C. & Regina Quick Foundation, Inc.▴ Charitable Trust Dramatists Play Service, Inc.*

Gifts in Kind

A.C.T. thanks the following donors for their generous contributions of goods and services.

4imprint Krista Coupar Adrienne Miller The Marker Hotel Blackbird Vineyards Moleskine Chateau St. Jean Piedmont Piano Company Chris and Holly Hollenbeck Premium Port Wines, Inc. Clift Hotel Recchiuti Confections CyberTools for Libraries diptyque Emergency BBQ Company First Crush Restaurant and Wine Bar Joe Tally and Dan Strauss Just Water

Corporations Matching Annual Fund Gifts

As A.C.T. is both a cultural and an educational institution, many employers will match individual employee contributions to the theater. The following corporate matching gift programs honor their employees’ support of A.C.T., multiplying the impact of those contributions.

Acxiom Corporation BlackRock GE Foundation Macy’s, Inc. The Clorox Company Adobe Systems Inc. Charles Schwab Google Merrill Lynch & Co. Foundation Apple, Inc. Chevron Hewlett-Packard Foundation, Inc. The James Irvine Foundation Applied Materials Chubb & Son IBM International Foundation Northwestern Mutual The Morrison & Foerster AT&T Foundation Dell Direct Giving Campaign JPMorgan Chase Foundation Foundation Bank of America Dodge & Cox Johnson & Johnson Family Pacific Gas and Electric TPG Capital, L.P. Bank of America Foundation Ericsson, Inc. of Companies Arthur Rock Verizon Bank of New York Mellon Federated Department Stores Levi Strauss Foundation Salesforce Visa International Community Partnership The Gap Lockheed Martin Corporation State Farm Companies John Wiley and Sons, Inc. Foundation

415.749.2228 35 A.C.T. STAFF

CAREY PERLOFF PETER PASTREICH MELISSA SMITH DON-SCOTT COOPER Artistic Director Executive Director Conservatory Director General Manager

James Haire Kelly Koehn, Accessories & Crafts Artisan Gillian Eichenberger, Head Clerk M.F.A. Program Core Faculty Producing Director Emeritus Chanterelle Grover, First Hand Anthony Miller, Group Sales Christine Adaire, Head of Voice Victoria Mortimer, Interim Costume Scott Tignor, Stephanie Arora, Subscriptions Nancy Benjamin, Co-Head of Voice and Dialects, Resident Artists Administrator Coordinators Director Anthony Fusco, Domenique Lozano Tessanella DeFrisco, Bree Dills, Costume Fellows Andy Alabran, Hillary Bray, Peter Davey, Stephen Buescher, Head of Movement, Director Elizabeth Halperin, Alex Mechanic, Johnny Domenique Lozano, Acting, Director Moreno, Katharine Torres, Treasurers Associate Artists Wig Shop Michael Paller, Director of Humanities, Director Marco Barricelli, Olympia Dukakis, Giles Lindsay Saier, Wig Master Lisa Anne Porter, Co-Head of Voice and Dialects Havergal, Bill Irwin, Steven Anthony Jones, Melissa Kallstrom, Wig Supervisor Front of House Andrew Polk, Tom Stoppard, Gregory Wallace, Kevin Nelson, Theater Manager Jack Sharrar, PhD, Theater History Timberlake Wertenbaker Melissa Smith, Head of Acting, Director STAGE STAFF Cara Chrisman, David Whitman, House Managers Playwrights The Geary: Leontyne Mbele-Mbong, Megan Murray, M.F.A. Program Adjunct Faculty Pamela Gray, Qui Nguyen, Suzan-Lori Parks, Miguel Ongpin, Head Carpenter Genevieve Pabon, Tuesday Ray, Associate Milissa Carey, Singing, Director Carey Perloff and Paul Walsh, Harold Pinter, Suzanna Bailey, Head Sound House Managers Andy Donald, Arts Leadership William Shakespeare, Simon Stephens, Mark Pugh, Head Properties Kevin Hoskins, Lead Bartender Julie Douglas, Improv Bess Wohl Daniel Swalec, Head Electrician Oliver Sutton, Security Lauren English, Business of Acting Colin Wade, Flyman Daniel Feyer, Music Director, Accompanist Directors Ramsey Abouremeleh, Shannon Amitin, Mary Montijo, Wardrobe Supervisor Kimberly Anthony, Nic Candito, Forrest Choy, Janet Foster, Audition, Showcase Hal Brooks, Jaime Castañeda, Rachel Chavkin, Diane Cornelius, Assistant Wardrobe Supervisor Bernadette Fons, Kadeem Harris, Anthony Giles Havergal, Director, Acting Liz Diamond, Sheryl Kaller, Domenique Lozano, Hernandez, Kevin Hoskins, Caleb Lewis, Susan Loren Lewis, Joe Nelson, Stage Door Monitors Gregory Hoffman, Combat Carey Perloff Monson, Haley Nielsen, Trever Pearson, Pete Jasmin Hoo, Citizen Artistry The Strand: Pickens, Jeremy Rice, Atarah Richmond, Miki Choreographers Richmond, Travis Rowland, Tracey Sylvester, Mark Jackson, Devised Theater , Strand Master Technician Val Caniparoli, Josh Prince Patsy McCormack Leonard Thomas, Cevie Toure, Robyn Williams, Darryl Jones, Acting Sarah Jacquez, Strand Sound Engineer Bartenders Sean Kana, Singing Composers/Orchestrators Susan Allen, Rodney Anderson, Branden W. D. Keith, On-Camera Acting David Coulter, Shammy Dee, Paul Scott ADMINISTRATION Bowman, Serena Broussard, Danica Burt, Philip Charles MacKenzie, On-Camera Acting Goodman Margaret Cahill, Jose Camello, Barbara Casey, Denys Baker, Administrative Project Manager Heidi Marshall, On-Camera Acting Wendy Chang, Niyjale Cummings, Kathy Dere, Coralyn Bond, Executive Assistant and Board Music Directors John Doll, Larry Emms, Doris Flamm, Claire Seana McKenna, Acting Liaison Caymichael Patten, Audition Daniel Feyer Gerndt, Blue Kesler, Ryszard Koprowski, Sharon Lee, Sadie Li, Joe MacDonald, Val Mason, Sam Carey Perloff, Arts Leadership Human Resources Designers Mesinger, Eileen Murphy, Kathy Napoleone, Kari Prindl, Alexander Technique David Jackson, Human Resources Director Lily Narbonne, Brandie Pilapil, Mark Saladino, Stacey Printz, Dance John Arnone, Nina Ball, Brian Bembridge, Alpa Shah, Human Resources Generalist Steve Salzman, Walter Schoonmaker, Stephanie Riccardo Hernandez, Laura Jellinek, Alexander Somersille, Michael Sousa, Melissa Stern, Claire Tiffany Redmon, Fundraising V. Nichols, David Israel Reynoso, Scenic General Management Tremblay, Dale Whitmill, Lorraine Williams, Lindsay Saier, Stage Makeup Jessie Amoroso, Beaver Bauer, Candice Amy Hand, Associate General Manager Ushers Ken Savage, Director Donnelly, Tilly Grimes, Meg Neville, David Israel Elyse Shafarman, Alexander Technique Reynoso, Costumes Amy Dalba, Company Manager The Strand Cafe Liz Tenuto, Dance Robert Hand, James F. Ingalls, Wen-Ling Liao, Sabra Jaffe, Interim Company Manager Rafael Monge, Cafe Manager Lisa Townsend, Director, Choreographer Mike Inwood, Alexander V. Nichols, Nancy Mia Carey, General/Company Management LaRina Hazel, Raj Paul Pannu, Baristas Schertler, Robert Wierzel, Yi Zhao, Lighting Fellow James Wagner, Business of Acting Brendan Aanes, Stowe Nelson, Jake Rodriguez, Darron L West, Sound Finance EDUCATION & COMMUNITY Studio A.C.T. Tal Yarden, Chris Lundahl, Video Lawrence Yuan, Director of Finance PROGRAMS Liz Anderson, Filmmaking Sharon Boyce, May Chin, Matt Jones, Elizabeth Brodersen, Director of Education Heidi Carlsen, Voice Coaches Finance Associates & Community Programs Matt Chapman, Movement Nancy Benjamin, Lisa Anne Porter, Jasmin Hoo, Associate Director of Education Julie Douglas, Mask, Clown, and Movement Voice and Text Information Technology & Community Programs Francie Epsen-Devlin, Musical Theater , Director Stephen Buescher, Movement Thomas Morgan Vincent Amelio, School & Community Paul Finocchiaro, Acting , Network Administrator Jonathan Rider, Danielle O’Dea, Fights Joone Pajar Programs Coordinator W. D. Keith, On-Camera Acting Daniel Feyer, Music Vanessa Ramos, ACTsmart Residencies Drew Khalouf, Speech and Diction Operations Coordinator Jessica Kitchens, Acting Jamie McGraw, Associate Manager, Facilities Stephanie Wilborn, Community Programs ARTISTIC Kari Prindl, Alexander Technique Operation and Security Coordinator Andy Donald, Associate Artistic Director Mark Rafael, Acting Jeffrey Warren, Assistant Facilities Manager Elizabeth Halperin, Student Matinees Michael Paller, Dramaturg Katie Rubin, Acting, Stand-Up Leopoldo Benavente, Facilities Crew Member Lealani Drew Manuta, Education Programs Janet Foster, Director of Casting and Artistic Curtis Carr, Jr., Victor Newman, Jesse Fellow Naomi Sanchez, Musical Theater Associate Nightchase, Security Nailah Harper-Malveaux, Community Jonathan Spector, Introduction to Playwriting Allie Moss, Artistic Associate Jaime Morales, Geary Cleaning Foreman Producing Fellow Laura Wayth, Acting Ken Savage, Associate Producer Jamal Alsaidi, Jeaneth Alvarado, Lidia Godinez, Nora Zahn, Artistic Fellow Geary Cleaning Crew YOUNG CONSERVATORY Conservatory Accompanists Lynden James Bair, Daniel Feyer, Christopher Development Jill MacLean, Craig Slaight Director of Hewitt, Paul McCurdy, Thaddeus Pinkston, PRODUCTION the Young Conservatory Caitlin A. Quinn, Director of Development Naomi Sanchez Audrey Hoo, Production Manager Emily Hanna, Young Conservatory & Studio Tiffany Redmon, Deputy Director of Robert Hand, Associate Production Manager A.C.T. Coordinator Development Library Staff Jack Horton, Associate Production Manager Andy Alabran, Acting Bethany Herron, Associate Director of Joseph Tally, Head Librarian Cristina Anselmo, Acting Chris Lundahl, Design and Production Associate Development, Institutional Partnerships G. David Anderson, Theresa Bell, Laurie Molly Bell, Musical Theater Michelle Symons, Assistant Production Manager Helen Rigby, Director of Legacy Giving Bernstein, Helen Jean Bowie, Bruce Carlton, Danielle Conover, Physical Theater Barbara Cohrssen, William Goldstein, Pat Walter Ryon, Conservatory Production Manager Jody Price, Director of Special Events Hunter, Connie Ikert, Ashok Katdare, Martha Haley Miller, Conservatory Design and Nancy Gold, Physical Character, Acting Renée Gholikely, Development Research and Kessler, Nelda Kilguss, Barbara Kornstein, Production Coordinator Dan Griffith, Movement Prospect Manager Analise Leiva, Ines Lewandowitz, Patricia Maggie Manzano, Conservatory Production and Sarah Armstrong, Donor Relations and Jane Hammett, Musical Theater O’Connell, Roy Ortopan, Maida Paxton, Stage Management Coordinator Membership Manager Emily Hanna, Acting Connie Pelkey, Christine Peterson, Dana Rees, Spencer Jorgensen, Production Fellow Stephanie Swide, Development Operations W. D. Keith, Director Roger Silver, Jane Taber, Susan Torres, Joyce Manager Domenique Lozano, Director, Acting Weisman, Jean Wilcox, Marie Wood, Library Stage Management Volunteers Jordan Nickels, Development Assistant Christine Mattison, Dance, Choreographer Elisa Guthertz, Head Stage Manager Emily Remsen, Special Events Fellow Lauren Rosi, Musical Theater Elisa Guthertz, Deirdre Rose Holland, A.C.T. thanks the physicians and staff of the Rachel Stuart, Development Fellow Vivian Sam, Musical Theater, Dance Marcy Reed, James Steele, Karen Szpaller, Centers for Sports Medicine, Saint Francis Stage Managers Josh Schell, Acting Marketing & Public Relations Memorial Hospital, for their care of the A.C.T. Dani Bae, Christina Hogan, Christina Larson, Valerie Weak, Acting company: Dr. Victor Prieto, Dr. Hoylond Hong, Christine Miller, Associate Director of Marketing Megan McClintock, Leslie M. Radin, Assistant Krista Wigle, Musical Theater Dr. Susan Lewis, Don Kemp, P.A., and Chris Stage Managers Brad Amorosino, Senior Graphic Designer Corpus, Clinic Supervisor. Hal Day, Production Assistant Simon Hodgson, Publications Manager CONSERVATORY Simone Finney, Digital Content Manager Accreditation Miranda Campbell, Erin Sweeney, Bri Owens, Christopher Herold, Director of Summer A.C.T. is accredited by the Accrediting Stage Management Fellows Kevin Kopjak/Charles Zukow Associates, Training Congress Public Relations Counsel Commission for Senior Colleges and Jack Sharrar, PhD, Director of Academic Affairs Prop Shop Elspeth Sweatman, Publications Associate Universities of the Western Association of Jerry Lopez, Director of Financial Aid Ryan L. Parham, Supervisor Miranda Ashland, Marketing Fellow Schools and Colleges (WASC), 985 Atlantic Dan Kolodny, Manager, Conservatory Operations Avenue, Suite 100, Alameda, CA 94501, Abo Greenwald, Assistant Taylor Steinbeck, Publications Fellow & Professional Development Training 510.748.9001, an institutional accrediting body Tabriana Willard, Graphics Fellow recognized by the Council on Postsecondary Costume Shop Emily Hanna, Young Conservatory & Studio A.C.T. Coordinator Accreditation and the U.S. Department of Jessie Amoroso, Costume Director Ticket Services Matt Jones, Bursar/Payroll Administrator Education. Callie Floor, Rentals Manager Ian Fullmer, Box Office Manager Vanessa Flores, Conservatory Associate, Keely Weiman, Build Manager/Draper Mark C. Peters, Subscriptions Manager Academic Programs Jef Valentine, Inventory Manager David Engelmann, Head Treasurer Ilyssa Ernsteen, Olga Korolev, Maria Montoya, Head Stitcher Conservatory Fellows

36 ACT-SF.ORG A.C.T. PROFILES

CAREY PERLOFF (Artistic Director) Mary Stuart, ’Tis Pity She’s a Whore, The Tosca Café, The is celebrating her 25th season as artistic Voysey Inheritance, Scorched, and Underneath the Lintel. director of A.C.T., where she has Perloff is also an award-winning playwright. Her recent overseen a huge growth in the quality play Kinship premiered at the Théâtre de Paris in 2014; and scope of A.C.T.’s work, helped to Higher won the 2011 Blanche and Irving Laurie Foundation rebuild the earthquake-damaged Geary Theatre Visions Fund Award; and Luminescence Dating Theater and the new Strand Theater in premiered in New York at The Ensemble Studio Theatre. Central Market, and has forged Perloff’s book, Beautiful Chaos: A Life in the Theater collaborations between A.C.T. and theaters across the United (City Lights Press), was selected as San Francisco States and Canada. Known for innovative productions of Public Library’s One City One Book read for 2016. classics and championing new writing and new forms of Before joining A.C.T., Perloff was artistic director of theater, Perloff has directed classical plays from around the Classic Stage Company in New York, where she directed the world, 10 plays by Tom Stoppard (including the American premiere of Ezra Pound’s Elektra, the American premiere premieres of The Invention of Love and Indian Ink, also at of Pinter’s Mountain Language, and many classic works. Roundabout Theatre Company, and two productions of Named a Chevalier de l’Ordre des Arts et des Lettres by Arcadia), and many productions by favorite contemporary the French government, Perloff received a BA Phi Beta writers such as Samuel Beckett, Harold Pinter, José Rivera, Kappa in classics and comparative literature from Stanford and Philip Kan Gotanda. Favorite productions include Hecuba, University and was a Fulbright Fellow at Oxford.

PETER PASTREICH (Executive six years as managing director of the Mississippi River Director) joins A.C.T. after a 50-year Festival. In addition, Pastreich has done management career in arts management. He spent 21 consulting for the Berlin Philharmonic, Southbank Centre in years as executive director of the San London, Detroit Symphony, Louisville Orchestra, Milwaukee Francisco Symphony, a period that Symphony, Philadelphia Orchestra, and Sydney Symphony included the tenures of music directors Orchestra in Australia. He has also served as mediator in Edo De Waart, Herbert Blomstedt, and orchestra and opera union negotiations in Detroit, Louisville, Michael Tilson Thomas, and during which Milwaukee, Phoenix, Sacramento, Seattle, and San Antonio. the orchestra increased its endowment from $12 million to $120 Born in Brooklyn, New York, in 1938, Pastreich received million. Pastreich was the chief administrator responsible for a BA in English literature from Yale University in 1959. In the construction of Davies Symphony Hall in San Francisco, 1999, he was made a Chevalier de l’Ordre des Arts et des and for its acoustical renovation. Lettres by the French government and was named an Before coming to San Francisco, he spent 12 years as honorary member of the International Alliance of Theatrical executive director of the Saint Louis Symphony Orchestra and Stage Employees by Local 16 of the Stagehands Union.

MELISSA SMITH (Conservatory the Bay Area. Prior to assuming leadership of the Director, Head of Acting) has served as Conservatory, Smith was the director of the Program in Conservatory director and head of acting Theater and Dance at Princeton University, where she also in the Master of Fine Arts Program at taught introductory, intermediate, and advanced acting. She A.C.T. since 1995. During that time, she has taught acting classes to students of all ages in various has overseen the expansion of the M.F.A. colleges, high schools, and studios around the continental Program from a two- to a three-year United States, at the Mid-Pacific Institute in Hawaii, New York course of study and the further University’s La Pietra campus in Florence, and the Teatro di integration of the M.F.A. Program faculty and student body Pisa in San Miniato, Italy. She is featured in Acting Teachers of with A.C.T.’s artistic wing, while also teaching and directing in America: A Vital Tradition. Also a professional actor, she has the M.F.A. Program, Summer Training Congress, and Studio performed regionally at the Hangar Theatre, A.C.T., the A.C.T. She also successfully launched the San Francisco California Shakespeare Festival, Berkeley Repertory Theatre; Semester, a semester-long intensive designed to deepen in New York at Primary Stages and Soho Rep.; and in England students’ well of acting experience, broaden their knowledge at the Barbican Centre in London and Birmingham Repertory of dramatic literature, and sharpen their technical skills—all Theatre. Smith holds a BA from Yale College and an MFA while immersing them in the multifaceted cultural landscape of in acting from Yale School of Drama.

415.749.2228 37 F.Y. I .

ADMINISTRATIVE OFFICES REFRESHMENTS AFFILIATIONS Full bar service, sweets, and savory items are A.C.T.’s administrative and conservatory A.C.T. is a constituent of Theatre available one hour before the performance in offices are located at 30 Grant Avenue, San Communications Group, the national Fred’s Columbia Room on the lower level and Francisco, CA 94108, 415.834.3200. On the organization for the nonprofit professional the Sky Bar on the third level. You can avoid web: act-sf.org. theater. A.C.T. is a member of Theatre Bay the long lines at intermission by preordering Area, the Union Square Association, the San food and beverages in the lower- and third- Francisco Chamber of Commerce, and the level bars. Bar drinks are now permitted in the BOX OFFICE INFORMATION San Francisco Convention & Visitors Bureau. theater. A.C.T. BOX OFFICE Visit us at 405 Geary Street at Mason, next to CELL PHONES A.C.T. operates under an agreement the theater, one block west of Union Square; If you carry a pager, beeper, cell phone, or between the League of Resident Theatres or at 1127 Market Street at 7th Street, watch with an alarm, please make sure that and Actors’ Equity Association, the union of across from the UN Plaza. Walk-up hours it is set to the “off” position while you are professional actors and stage managers in are Tuesday–Sunday (noon–curtain) on in the theater. Text messaging during the the United States. performance days, and Monday–Friday performance is very disruptive and not allowed. (noon–6 p.m.) and Saturday–Sunday The Director is a member of the STAGE (noon–4 p.m.) on nonperformance days. PERFUMES DIRECTORS AND CHOREOGRAPHERS (For Strand Box Office walk-up hours, please The chemicals found in perfumes, colognes, SOCIETY, a national theatrical labor union. visit act-sf.org.) Phone hours are Tuesday– and scented aftershave lotions, even in Sunday (10 a.m.–curtain) on performance small amounts, can cause severe physical The scenic, costume, lighting, and days, and Monday–Friday (10 a.m.–6 p.m.) reactions in some individuals. As a courtesy to sound designers in LORT theaters are and Saturday–Sunday (10 a.m.–4 p.m.) on fellow patrons, please avoid the use of these represented by United Scenic Artists, Local nonperformance days. Call 415.749.2228 and products when you attend the theater. USA-829 of the IATSE. use American Express, Visa, or MasterCard; The scenic shop, prop shop, and stage or fax your ticket request with credit card EMERGENCY TELEPHONE crew are represented by Local 16 of the information to 415.749.2291. Tickets are also Leave your seat location with those who IATSE. available 24 hours a day on our website at may need to reach you and have them call 415.439.2317 in an emergency. act-sf.org. All sales are final, and there are no A.C.T. is supported in part by a grant from refunds. Only current ticket subscribers and LATECOMERS San Francisco Grants for the Arts. those who purchase ticket insurance enjoy Performances begin promptly, and late ticket exchange privileges. Packages are seating is at the house manager’s discretion. available by calling 415.749.2250. A.C.T. gift Latecomers may have to watch the certificates can be purchased in any amount performance on a video monitor in the lobby online, by phone or fax, or in person. until intermission. Latecomers and those who GEARY THEATER EXITS SPECIAL SUBSCRIPTION DISCOUNTS leave the theater during the performance may Full-time students, educators, and be seated in alternate seats (especially if they administrators save up to 50% off season were in the first few rows) and can take their subscriptions with valid ID. Visit act-sf.org/ assigned seats at intermission. educate for details. Seniors (65+) save $40 on LISTENING SYSTEMS 8 plays, $35 on 7 plays, $30 on 6 plays, $25 Headsets designed to provide clear, amplified ORCHESTRA on 5 plays, and $20 on 4 plays. sound anywhere in the auditorium are SINGLE TICKET DISCOUNTS available free of charge in the lobby before Joining our eClub is the best—and sometimes performances. Please turn off your hearing aid only—way to find out about special ticket when using an A.C.T. headset, as it will react to offers. Visit act-sf.org/eclub to sign up. Find the sound system and make a disruptive noise. us on Facebook and Twitter for other great PHOTOGRAPHS AND RECORDINGS of A.C.T. deals. Beginning two hours before curtain, performances are strictly forbidden. a limited number of discounted tickets are available to seniors (65+), educators, RESTROOMS are located in Fred’s Columbia administrators, and full-time students. For Room on the lower lobby level, the Mezzanine matinee performances, all seats are just $20 Lobby, and the Garret on the uppermost for seniors (65+). Valid ID required—limit lobby level. one ticket per ID. Not valid for Premiere Wheelchair Seating is located MEZZANINE Orchestra seating. All rush tickets are subject in Fred’s Columbia Room on the to availability. lower lobby level, the Balcony Lobby, and the Garret on the GROUP DISCOUNTS uppermost lobby level. Groups of 15 or more save up to 35%! For more information visit www.act-sf.org/groups. A.C.T. is pleased to announce that an Automatic External Defibrillator (AED) is now available AT THE THEATER in the house management closet in the lobby A.C.T.’s Geary Theater is located at 415 Geary of The Geary. Street. The lobby opens one hour before curtain. Bar service and refreshments are LOST AND FOUND available one hour before curtain. The theater If you’ve misplaced an item while you’re opens 30 minutes before curtain. still at the theater, please look for it at our merchandise stand in the lobby. Any items ABOUT OUR PLAYS found by ushers or other patrons will be taken Copies of Words on Plays, A.C.T.’s in-depth there. If you’ve already left the theater, please BALCONY performance guide, are on sale in the main call 415.439.2471 and we’ll be happy to check lobby, at the theater bars, at the box office, our lost and found for you. Please be prepared and online at act-sf.org/wordsonplays. with the date you attended the performance and your seat location.

38 ACT-SF.ORG Book by Dominique Morisseau Music and Lyrics from The Legendary Motown Catalog Music by arrangement with Sony/ATV Music Publishing Orchestrations by Harold Wheeler Music Direction & Arrangements by Kenny Seymour Choreographed by Sergio Trujillo Directed by Des McAnuff

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